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 Finland and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1977.
I'm losing my edge.
To all the kids in London and Tokyo.
I'm losing my edge to the art-school Mumbai 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 1968 at the first Can practice in a loft in Cologne.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Rufus Thomas to the funk kids.
I played it at the Hacienda.
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 Marshall Jefferson. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Drexciya record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
The Standells,
Panda Bear,
The Remains,
Theoretical Girls,
The Electric Prunes,
Pole,
Nick Cave & The Bad Seeds,
Kenny Larkin,
The Velvet Underground,
Hasil Adkins,
Hot Snakes,
Thompson Twins,
Tears for Fears,
Wings,
The Dave Clark Five,
One Last Wish,
The J.B.'s,
E-Dancer,
Heaven 17,
Cymande,
Tim Buckley,
Jandek,
New York Dolls,
the Bar-Kays,
Mark Hollis,
Beasts of Bourbon,
Young Marble Giants,
Black Moon,
John Cale,
Joey Negro,
Jerry Gold Smith,
Glambeats Corp.,
Nik Kershaw,
Blake Baxter,
Kool Moe Dee,
Joy Division,
Soul II Soul,
Slave,
The Tremeloes,
Arthur Verocai,
Quantec,
The Birthday Party,
Marc Almond,
Super Lover Cee & Casanova Rud,
Radiohead,
Aloha Tigers,
The Litter,
Arab on Radar,
Pulsallama,
Pantaleimon,
Graham Central Station,
Spandau Ballet,
Gang Green,
Circle Jerks,
The Monks,
Kango’s Stein Massive,
Television Personalities,
Masters at Work,
Larry & the Blue Notes,
Bronski Beat,
Erasure,
Arcadia,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.