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 St Lucia and from Calgary.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Bremen and Columbus.
I'm losing my edge to the art-school Columbus 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 sitar sounds with much patience.
I was there when Holger Czukay 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 Ludus to the grime kids.
I played it at the Troubador.
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 Bronski Beat. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Stetsasonic 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 '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Archie Shepp,
Selector Dub Narcotic,
Ice-T,
Heaven 17,
The Skatalites,
The Toasters,
Darondo,
Radio Birdman,
The Jesus and Mary Chain,
Gang Green,
Nirvana,
the Slits,
Jesper Dahlbäck,
Yellowson,
Dark Day,
Albert Ayler,
X-101,
Matthew Bourne,
Sun Ra,
Sonny Sharrock,
The West Coast Pop Art Experimental Band,
Wolf Eyes,
Cal Tjader,
Pere Ubu,
Yusef Lateef,
Gregory Isaacs,
The Standells,
The Golliwogs,
Model 500,
Charles Mingus,
Chris & Cosey,
The Angels of Light,
OOIOO,
Amon Düül II,
Zapp,
Tropical Tobacco,
Animal Collective,
James Chance & The Contortions,
Gastr Del Sol,
DJ Sneak,
Röyhkä ja Rättö ja Lehtisalo,
Avey Tare,
UT,
The Music Machine,
The New Christs,
Crispy Ambulance,
Pharoah Sanders,
Kurtis Blow,
Loose Ends,
Skarface,
The Vogues,
Quadrant,
Bobbi Humphrey,
Skriet,
Minnie Riperton,
Janne Schatter,
Ultimate Spinach,
The Slackers,
Kerrie Biddell,
Motorama,
Joy Division,
Sad Lovers and Giants,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.