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 Belarus and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Winnipeg and Tehran.
I'm losing my edge to the art-school Milan 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 808 sounds with much patience.
I was there when Lou Reed 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 Organ to the grime 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 Rahsaan Roland Kirk. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal dance 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 a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pet Shop Boys record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
Procol Harum,
Parry Music,
Brothers Johnson,
Sonny Sharrock,
Tomorrow,
Yellowson,
Yazoo,
Boredoms,
Grandmaster Flash and the Furious Five,
the Association,
Mad Mike,
the Fania All-Stars,
Danielle Patucci,
Sound Behaviour,
Charles Mingus,
Johnny Clarke,
Average White Band,
cv313,
Bauhaus,
Agent Orange,
Sonic Youth,
Electric Light Orchestra,
The Alarm Clocks,
Stereo Dub,
Ponytail,
Tropical Tobacco,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Blancmange,
Eric Dolphy,
This Heat,
Robert Hood,
Arcadia,
Mars,
Deutsch Amerikanische Freundschaft,
The Associates,
Ultra Naté,
Hashim,
Dark Day,
Suicide,
Boogie Down Productions,
Soft Machine,
Lindisfarne,
Nick Cave & The Bad Seeds,
Lafayette Afro Rock Band,
Wighnomy Brothers & Robag Wruhme,
Ralphi Rosario,
Heavy D & The Boyz,
Public Image Ltd.,
James Chance & The Contortions,
Pagans,
China Crisis,
The Royal Family And The Poor,
Josef K,
Outsiders,
Traffic Nightmare,
Delta 5,
One Last Wish, One Last Wish, One Last Wish, One Last Wish.
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.