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 South Sudan and from Accra.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1975.
I'm losing my edge.
To all the kids in London and Woodstock.
I'm losing my edge to the art-school Lagos 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 Wire practice in a loft in Watford.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 Barbara Tucker to the electroclash 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 Stiv Bators. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Von Mondo record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Los Fastidios,
Boz Scaggs,
Fad Gadget,
Lakeside,
FM Einheit,
Ossler,
L. Decosne,
Joey Negro,
The Move,
Franke,
10cc,
Funkadelic,
Nico,
Henry Cow,
Spoonie Gee,
Scratch Acid,
Kings Of Tomorrow,
Lower 48,
Richard Hell and the Voidoids,
Radiohead,
The Residents,
Ajijia Myrayebe,
Bill Near,
Cal Tjader,
Banda Bassotti,
Young Marble Giants,
The Busters,
Ronan,
Pete Rock & C.L. Smooth,
PIL,
Bush Tetras,
Kango’s Stein Massive,
Jimmy McGriff,
The Fire Engines,
Little Man,
Nils Olav,
Television Personalities,
Tom Boy,
Cymande,
The United States of America,
The Royal Family And The Poor,
Interpol,
Quando Quango,
Sam Rivers,
Fort Wilson Riot,
Dorothy Ashby,
Swans,
Eric Copeland,
Bootsy Collins,
Anthony Braxton,
Art Ensemble Of Chicago,
Eurythmics,
Country Teasers,
Kaleidoscope,
Das Ding,
The Wake,
Gang Gang Dance,
Mo-Dettes,
Babytalk,
The Men They Couldn't Hang,
Can,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.