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 Tonga and from Hong Kong.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1977.
I'm losing my edge.
To all the kids in Portland and Calgary.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Inner City to the disco 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 Joyce Sims. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Juan Atkins record on German import.
I heard that you have a white label of every seminal electroclash 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Red Lorry Yellow Lorry,
The Black Dice,
In Retrospect,
Throbbing Gristle,
Rakim,
the Fania All-Stars,
Ituana,
De La Soul & Jungle Brothers,
Prince Buster,
The Cramps,
Lindisfarne,
Aaron Thompson,
Rapeman,
Anakelly,
Brass Construction,
Lebanon Hanover,
Eric Copeland,
Q65,
Harmonia,
Urselle,
Peter & Gordon,
The Happenings,
Schoolly D,
Jawbox,
Glambeats Corp.,
Lafayette Afro Rock Band,
Mo-Dettes,
Kevin Saunderson,
Morten Harket,
Röyhkä ja Rättö ja Lehtisalo,
Dawn Penn,
Dark Day,
H. Thieme,
Heaven 17,
Deakin,
Tropical Tobacco,
Ultravox,
Eric Dolphy,
Nik Kershaw,
The Mojo Men,
Infiniti,
Stockholm Monsters,
Iggy Pop,
Amon Düül II,
Rhythim Is Rhythim,
Dual Sessions,
Jerry Gold Smith,
Sight & Sound,
Skaos,
Echospace,
The Shadows of Knight,
Fatback Band,
The Red Krayola,
Pete Rock & C.L. Smooth,
The Wake,
Hasil Adkins,
The Residents,
Bootsy Collins,
John Foxx,
Alison Limerick,
Neil Young,
Liaisons Dangereuses,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.