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 Azerbaijan and from Portland.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Spokane and Copenhagen.
I'm losing my edge to the art-school Beijing 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 The Music Machine to the electroclash kids.
I played it at the Astoria.
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 Jesper Dahlback. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every The Black Dice 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
CMW,
Bobbi Humphrey,
Ituana,
Jesper Dahlback,
Audionom,
Electric Prunes,
Carl Craig,
Joe Smooth,
Aloha Tigers,
Idris Muhammad,
Oneida,
Nick Fraelich,
Max Romeo,
Eurythmics,
The Walker Brothers,
Fela Kuti,
Popol Vuh,
Sonny Sharrock,
Kerrie Biddell,
Ultimate Spinach,
48th St. Collective,
Delon & Dalcan,
Bob Dylan,
the Association,
London Community Gospel Choir,
Sällskapet,
The Pretty Things,
Amon Düül II,
Moebius,
Deadbeat,
Bill Near,
Lakeside,
Jimmy McGriff,
The Barracudas,
Funkadelic,
Grandmaster Flash and the Furious Five,
Motorama,
Rekid,
Arab on Radar,
Crash Course in Science,
Marshall Jefferson,
The Pop Group,
Judy Mowatt,
Wasted Youth,
Chris Corsano,
Schoolly D,
Sandy B,
Suicide,
Mantronix,
Ice-T,
The Neon Judgement,
Tomorrow,
Parry Music,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Flash Fearless,
Symarip, Symarip, Symarip, Symarip.
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.