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 Albania and from Salvador.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Spokane.
I'm losing my edge to the art-school Jakarta 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the 808 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 Lucky Dragons to the grunge kids.
I played it at Trash.
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 Andrew Ashong & Theo Parrish. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Brass Construction 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 '80s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
Maleditus Sound,
Bobby Byrd,
Negative Approach,
Slick Rick,
Kenny Larkin,
Lalo Schifrin,
Crime,
Yellowson,
Index,
Notorious Big And Bone Thugs,
The Gun Club,
Eli Mardock,
Stetsasonic,
Bootsy's Rubber Band,
Mark Hollis,
The West Coast Pop Art Experimental Band,
Masters at Work,
Fela Kuti,
Alton Ellis,
Rowland S Howard / Lydia Lunch,
DJ Style,
Nik Kershaw,
The Kinks,
Fad Gadget,
Ronnie Foster,
The Divine Comedy,
Excepter,
Be Bop Deluxe,
Oppenheimer Analysis,
The Dirtbombs,
Easy Going,
Delon & Dalcan,
Franke,
Rhythim Is Rhythim,
Sun Ra,
Quadrant,
Man Eating Sloth,
Subhumans,
Pharoah Sanders,
The Electric Prunes,
Barbara Tucker,
Jeru the Damaja,
Sunsets and Hearts,
Funkadelic,
Kaleidoscope,
Boogie Down Productions,
Gong,
Simply Red,
Marmalade,
Deadbeat,
Rahsaan Roland Kirk,
Hashim,
The Doobie Brothers,
8 Eyed Spy,
Los Fastidios,
Television Personalities,
Thompson Twins,
The Alarm Clocks,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Eric B and Rakim,
AZ,
Colin Newman,
Monks,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.