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 Haiti 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 1962 to 1979.
I'm losing my edge.
To all the kids in Lille and Toronto.
I'm losing my edge to the art-school Portland 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Zero Boys to the techno 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 The Men They Couldn't Hang. All the underground hits.
All Rotary Connection tracks. I heard you have a vinyl of every Sandy B 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Grey Daturas record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Deadbeat,
Kool Moe Dee,
Matthew Bourne,
Sam Rivers,
Angry Samoans,
David McCallum,
Agent Orange,
Bobby Womack,
Scan 7,
Prince Buster,
Monolake,
Smog,
Rakim,
Charles Mingus,
The American Breed,
Sly & The Family Stone,
Soul II Soul,
Liaisons Dangereuses,
David Bowie,
Soul Sonic Force,
Wire,
Black Sheep,
DJ Style,
Ossler,
Peter Gordon & Love of Life Orchestra,
Liliput,
Juan Atkins,
Oneida,
KRS-One,
Matthew Halsall,
a-ha,
R.M.O.,
The Chocolate Watch Band,
Eli Mardock,
Lee Hazlewood,
Motorama,
June of 44,
Magma,
UT,
The Fall,
The Seeds,
Super Lover Cee & Casanova Rud,
Delon & Dalcan,
Terrestrial Tones,
It's A Beautiful Day,
Major Organ And The Adding Machine,
Notorious BIG live in Amsterdam,
Shoche,
The Dave Clark Five,
Cheater Slicks,
Jeff Mills,
Gil Scott-Heron & Brian Jackson,
Radiohead,
Skaos,
Laurel Aitken,
Iggy Pop,
Black Flag,
Chrome,
The Gladiators,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.