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 Ivory Coast and from Jakarta.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Jakarta.
I'm losing my edge to the art-school Manchester 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Dorothy Ashby to the rap kids.
I played it at the Roxy.
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 Nation of Ulysses. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Quadrant record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T. Rex,
Section 25,
Lindisfarne,
the Slits,
Lalo Schifrin,
Fifty Foot Hose,
Ronnie Foster,
Michelle Simonal,
Derrick Morgan,
Hardrive,
Fat Boys,
Monks,
Henry Cow,
These Immortal Souls,
Warren Ellis,
Angry Samoans,
Neil Young,
Steve Hackett,
Lower 48,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Peanut Butter Conspiracy,
Gil Scott Heron,
Yusef Lateef,
Jerry's Kids,
Alison Limerick,
Gastr Del Sol,
Kerri Chandler,
Don Cherry,
Deutsch Amerikanische Freundschaft,
X-101,
Eric Dolphy,
Procol Harum,
Marcia Griffiths,
Frankie Knuckles,
Kango’s Stein Massive,
Deakin,
Lucky Dragons,
Heaven 17,
David McCallum,
Toni Rubio,
Black Moon,
Ajijia Myrayebe,
The Misunderstood,
Lebanon Hanover,
Eli Mardock,
Electric Light Orchestra,
Robert Hood,
MDC,
Jesper Dahlback,
The Residents,
The Flesh Eaters,
Kayak,
Organ,
Cluster,
The Electric Prunes,
Inner City,
Johnny Clarke,
Lakeside,
The Durutti Column,
The Evens,
The Skatalites,
Eric Copeland,
David Axelrod,
The Selecter, The Selecter, The Selecter, The Selecter.
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.