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 Barbados and from Johannesburg.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Accra and Portland.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Neon Judgement to the dance 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 Lalann. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Cybotron record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
The Red Krayola,
Pole,
World's Most,
Ultramagnetic MC's,
Crash Course in Science,
Yaz,
Ice-T,
Aloha Tigers,
These Immortal Souls,
Pussy Galore,
The Cure,
The Slackers,
PIL,
Pere Ubu,
Teenage Jesus and the Jerks,
Lightning Bolt,
Godley & Creme,
Accadde A,
Marshall Jefferson,
Idris Muhammad,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rhythim Is Rhythim,
Sound Behaviour,
Sad Lovers and Giants,
The Evens,
Black Moon,
Barrington Levy,
Wings,
Reagan Youth,
Funkadelic,
Dawn Penn,
David Axelrod,
Sun Ra Arkestra,
Heavy D & The Boyz,
Wally Richardson,
Todd Rundgren,
Donald Byrd,
Wighnomy Brothers & Robag Wruhme,
The Electric Prunes,
Tomorrow,
Bill Wells,
Hardrive,
Q and Not U,
Gabor Szabo,
Sun City Girls,
Television Personalities,
Bootsy's Rubber Band,
The Modern Lovers,
La Düsseldorf,
Negative Approach,
Kevin Saunderson,
Robert Wyatt,
Kenny Larkin,
Robert Hood,
Surgeon,
Siouxsie and the Banshees,
Bush Tetras,
ABC,
Vladislav Delay,
Isaac Hayes,
Average White Band,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.