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 Uzbekistan and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Manila and Salvador.
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 Todd Terry to the grunge kids.
I played it at the Crocodile.
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 The Real Kids. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every The Slits record on German import.
I heard that you have a white label of every seminal punk 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 theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Kerri Chandler,
Unrelated Segments,
Crime,
Scratch Acid,
June of 44,
Minny Pops,
Country Joe & The Fish,
Terrestrial Tones,
Skaos,
Motorama,
Avey Tare,
Moebius,
Angels of Light & Akron/Family,
Dr. Dre and Snoop Doggy Dog,
Darondo,
Johnny Osbourne,
The Neon Judgement,
T.S.O.L.,
The Doobie Brothers,
The Stooges,
The Detroit Cobras,
The Black Dice,
Charles Mingus,
Arab on Radar,
Skriet,
Todd Rundgren,
The Index,
Cybotron,
Dual Sessions,
Kas Product,
In Retrospect,
Kenny Larkin,
Cameo,
The Velvet Underground,
Nico,
Boz Scaggs,
Loose Ends,
Camberwell Now,
The Associates,
Connie Case,
Ohio Players,
Erasure,
Tropical Tobacco,
Moby Grape,
Soul II Soul,
Matthew Halsall,
Zero Boys,
Pylon,
The Saints,
Oppenheimer Analysis,
Magazine,
Yazoo,
Nik Kershaw,
Funkadelic,
De La Soul & Jungle Brothers,
Mad Mike,
Dave Gahan,
Richard Hell and the Voidoids,
Gary Puckett & The Union Gap,
The Sound,
Underground Resistance,
The Pretty Things, The Pretty Things, The Pretty Things, The Pretty Things.
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.