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 Korea North and from Columbus.
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 1979.
I'm losing my edge.
To all the kids in Houston and Tehran.
I'm losing my edge to the art-school Toronto 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 Alton Ellis to the rock kids.
I played it at the Roxy.
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 Stockholm Monsters. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every Reagan Youth record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
The J.B.'s,
Nils Olav,
Lizzy Mercier Descloux,
Josef K,
Pierre Henry,
Anthony Braxton,
Marc Romboy vs. Booka Shade,
Subhumans,
Lucky Dragons,
B.T. Express,
Pantaleimon,
The Shadows of Knight,
The Happenings,
The Slits,
Ultimate Spinach,
Iggy Pop,
Lafayette Afro Rock Band,
the Slits,
Severed Heads,
Crooked Eye,
Brick,
Grauzone,
Boogie Down Productions,
Mars,
Ken Boothe,
Gang Green,
Avey Tare's Slasher Flicks,
Cluster,
ABC,
F. McDonald,
Roxette,
Eyeless In Gaza,
JFA,
John Foxx,
Fat Boys,
The Trojans,
Rekid,
Bobby Sherman,
Marvin Gaye,
Alison Limerick,
Henry Cow,
Lou Reed & Metallica,
Youth Brigade,
Shoche,
Radio Birdman,
New Age Steppers,
The Move,
Marcia Griffiths,
Pussy Galore,
Clear Light,
Warsaw,
Jerry's Kids,
June Days,
the Normal,
Wally Richardson,
The Neon Judgement,
Massinfluence,
Ultramagnetic MC's,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.