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 East Timor and from Shanghai.
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 1971.
I'm losing my edge.
To all the kids in Manchester and Johannesburg.
I'm losing my edge to the art-school Shanghai 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 guitar 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 Letta Mbulu 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 FM Einheit. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Donald Byrd record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
World's Most,
Cal Tjader,
Alphaville,
AZ,
Brothers Johnson,
Rites of Spring,
Barrington Levy,
Theoretical Girls,
Colin Newman,
Severed Heads,
Eric Copeland,
Camberwell Now,
James White and The Blacks,
Eric B and Rakim,
Mad Mike,
Masters at Work,
Visionaries,LMNO, T- Love & Iriscience,
Peter & Gordon,
The Shadows of Knight,
The Sound,
Jeru the Damaja,
The Gories,
Stereo Dub,
Fort Wilson Riot,
Man Parrish,
Roxette,
The Blackbyrds,
Matthew Bourne,
The Royal Family And The Poor,
Hot Snakes,
Motorama,
The Knickerbockers,
Rakim,
Guru Guru,
Art Ensemble Of Chicago,
The Slackers,
Ash Ra Tempel,
Public Image Ltd.,
Gregory Isaacs,
Warsaw,
The Offenders,
Lonnie Liston Smith,
Ronnie Foster,
Popol Vuh,
Wire,
X-101,
the Slits,
Gang Starr,
Pharaoh Sanders and the Fire Engines,
Excepter,
Aloha Tigers,
The Kinks,
The J.B.'s,
Nirvana,
Brick,
Dennis Brown,
Glambeats Corp.,
Lizzy Mercier Descloux,
Aural Exciters,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.