Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Argentina and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1973.
I'm losing my edge.
To all the kids in Toronto and Winnipeg.
I'm losing my edge to the art-school Lyon kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Fort Wilson Riot to the techno kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Bob Dylan. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Little Man record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
Parry Music,
Gang of Four,
Roy Ayers,
Camron Feat. Memphis Bleek And Beenie Seigel,
Brass Construction,
The Fall,
Angry Samoans,
The Happenings,
The Misunderstood,
Marvin Gaye,
Babytalk,
L. Decosne,
La Düsseldorf,
Carl Craig,
Wally Richardson,
Echo & the Bunnymen,
Joe Finger,
Eric Copeland,
Michelle Simonal,
The Gap Band,
Icehouse,
Graham Central Station,
Nico,
Gang Green,
Bad Manners,
the Soft Cell,
Sex Pistols,
Major Organ And The Adding Machine,
Lou Reed & Metallica,
Girls At Our Best!,
Youth Brigade,
Skaos,
The Fire Engines,
Funkadelic,
Joyce Sims,
Juan Atkins,
The Toasters,
Sun Ra Arkestra,
Rowland S Howard / Lydia Lunch,
Cybotron,
The Buckinghams,
Wire,
The Martian,
Patti Smith,
The Sound,
The Motions,
Jawbox,
Dorothy Ashby,
Sad Lovers and Giants,
Neu!,
Pole,
June of 44,
Yazoo,
Man Eating Sloth,
the Bar-Kays,
Maurizio,
Surgeon,
Deakin,
Bauhaus,
Vaughan Mason & Crew,
John Lydon,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.