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 Somalia and from Mexico City.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1977.
I'm losing my edge.
To all the kids in Mexico City and Taipei.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the chamberlin 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 Fortunes to the disco 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 Laurel Aitken. All the underground hits.
All Babytalk tracks. I heard you have a vinyl of every Louis and Bebe Barron 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Matthew Halsall,
Super Lover Cee & Casanova Rud,
Unrelated Segments,
X-102,
Sister Nancy,
Visionaries,LMNO, T- Love & Iriscience,
Man Eating Sloth,
The Dirtbombs,
Dual Sessions,
Be Bop Deluxe,
Severed Heads,
Jerry's Kids,
Jandek,
The Fugs,
Yusef Lateef,
Gil Scott Heron,
Gang Green,
Con Funk Shun,
Joe Smooth,
Moebius,
Deepchord,
Monolake,
Lower 48,
Fear,
Easy Going,
Max Romeo,
Minny Pops,
Quadrant,
The Divine Comedy,
Josef K,
The Fall,
H. Thieme,
Country Teasers,
Yaz,
Rapeman,
Connie Case,
Aloha Tigers,
L. Decosne,
John Cale,
The Litter,
Pharoah Sanders,
Flamin' Groovies,
The Star Department,
a-ha,
ABBA,
The Residents,
The Gladiators,
Kauko Röyhkä ja Narttu,
Gerry Rafferty,
The Moody Blues,
The Saints,
Roxette,
Vladislav Delay,
Niagra,
The Electric Prunes,
Brick,
The Wake,
Johnny Clarke,
Pole,
Arab on Radar,
The Cowsills,
The Names,
Sam Rivers,
Oneida, Oneida, Oneida, Oneida.
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.