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 Panama and from Winnipeg.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Woodstock and London.
I'm losing my edge to the art-school Hong Kong 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Faraquet to the grunge 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 Röyhkä ja Rättö ja Lehtisalo. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Brand Nubian 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 '50s cut and another box set from the '80s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Cal Tjader record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Selector Dub Narcotic,
Severed Heads,
Sarah Menescal,
James Chance & The Contortions,
Stetsasonic,
John Coltrane,
FM Einheit,
CMW,
Ultravox,
Arcadia,
Barbara Tucker,
Lou Reed,
Scott Walker,
Moebius,
Delta 5,
The Raincoats,
Rhythm & Sound,
Black Sheep,
ABC,
X-102,
Yellowson,
Neu!,
Easy Going,
Wire,
Cymande,
Banda Bassotti,
Steve Hackett,
Khruangbin,
The Seeds,
Jeff Mills,
Iggy Pop,
Massinfluence,
Super Lover Cee & Casanova Rud,
Popol Vuh,
The Real Kids,
Mad Mike,
Audionom,
JFA,
Flash Fearless,
Swell Maps,
Mo-Dettes,
Bauhaus,
Babytalk,
Susan Cadogan,
Tubeway Army,
Graham Central Station,
Josef K,
Electric Light Orchestra,
The Mojo Men,
Masters at Work,
The Fall,
The Young Rascals,
Thinking Fellers Union Local 282,
Make Up,
The Star Department,
Cluster,
The Gories,
The Tremeloes,
Underground Resistance,
Swans,
Soul II Soul,
Jerry Gold Smith,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.