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 France and from Sao Paulo.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Lille.
I'm losing my edge to the art-school Tehran 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the mellotron 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 Tres Demented to the electroclash 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 Kas Product. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a John Foxx record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Larry & the Blue Notes,
Pussy Galore,
Can,
Alison Limerick,
Bronski Beat,
The Gories,
Neu!,
James White and The Blacks,
Laurel Aitken,
Groovy Waters,
Rekid,
Barclay James Harvest,
Pere Ubu,
Gerry Rafferty,
Bang On A Can,
The Smoke,
Chris & Cosey,
Pole,
Tommy Roe,
Boredoms,
the Swans,
Warren Ellis,
Pulsallama,
Model 500,
Crash Course in Science,
The Red Krayola,
The Slackers,
Crispy Ambulance,
Dual Sessions,
Zapp,
Massinfluence,
Camberwell Now,
Tom Boy,
The Vogues,
Stetsasonic,
The Detroit Cobras,
Jacques Brel,
Boz Scaggs,
Gian Franco Pienzio,
Lizzy Mercier Descloux,
Magazine,
Lindisfarne,
Lyres,
Faust,
Kayak,
Connie Case,
The Fall,
Erasure,
Gregory Isaacs,
June of 44,
The Moleskins,
The Techniques,
Kaleidoscope,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Tomorrow,
Selector Dub Narcotic,
Ken Boothe,
Gang Starr,
Gichy Dan,
Silicon Teens,
Oneida,
Fat Boys,
Sarah Menescal,
DNA, DNA, DNA, DNA.
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.