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 Slovenia and from Manila.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Beijing and Philadelphia.
I'm losing my edge to the art-school Woodstock 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 snare 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 The Beau Brummels to the electroclash kids.
I played it at Cafe Wha.
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 Amazonics. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal disco 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 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Sun City Girls,
Aloha Tigers,
Ultramagnetic MC's,
X-Ray Spex,
Barrington Levy,
Funkadelic,
The Techniques,
Eric Dolphy,
Angels of Light & Akron/Family,
Pussy Galore,
Red Lorry Yellow Lorry,
Blossom Toes,
Roxy Music,
Throbbing Gristle,
Big Daddy Kane,
Dennis Brown,
Electric Light Orchestra,
The Music Machine,
Kings Of Tomorrow,
Suicide,
The Royal Family And The Poor,
Sugar Minott,
Angry Samoans,
The Fortunes,
Jeru the Damaja,
Traffic Nightmare,
the Swans,
Jesper Dahlback,
Kool G Rap & DJ Polo,
Pierre Henry,
FM Einheit,
Gil Scott Heron,
Tears for Fears,
Todd Terry,
Metal Thangz,
The Stooges,
Urselle,
The Gladiators,
Curtis Mayfield,
Agent Orange,
Anthony Braxton,
Man Parrish,
Oneida,
Oblivians,
Soft Machine,
Khruangbin,
The Blues Magoos,
Joe Smooth,
Idris Muhammad,
The Durutti Column,
Funky Four + One,
Section 25,
Television,
Pharaoh Sanders and the Fire Engines,
Tim Buckley,
Bootsy Collins,
Dawn Penn,
Barbara Tucker,
Shuggie Otis,
The Fuzztones,
Max Romeo,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.