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 Zimbabwe and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1976.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
I'm losing my edge to the art-school Tehran 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Derrick Morgan to the dance kids.
I played it at Cafe Wha.
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 UT. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every Aural Exciters 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Television,
Skaos,
Gang Starr,
Morten Harket,
Lalo Schifrin,
Big Daddy Kane,
Beasts of Bourbon,
Howard Jones,
Ultra Naté,
Tropical Tobacco,
The Cure,
The Alarm Clocks,
Matthew Halsall,
Sister Nancy,
The Five Americans,
Interpol,
Lower 48,
Rod Modell,
Unwound,
The Real Kids,
Quantec,
Black Flag,
Pylon,
Dawn Penn,
The Smoke,
Leonard Cohen,
Ponytail,
The Fire Engines,
David Axelrod,
Negative Approach,
Pole,
PIL,
Tears for Fears,
Fat Boys,
The Blackbyrds,
In Retrospect,
Gastr Del Sol,
De La Soul & Jungle Brothers,
Art Ensemble Of Chicago,
Ohio Players,
the Association,
Essential Logic,
Deutsch Amerikanische Freundschaft,
Judy Mowatt,
The Sonics,
Dual Sessions,
Angry Samoans,
Stiv Bators,
The Martian,
Thinking Fellers Union Local 282,
the Normal,
Frankie Knuckles,
Hasil Adkins,
Chrome,
Jesper Dahlback,
The Blues Magoos,
Liliput,
The Dead C,
EPMD,
Liaisons Dangereuses,
Laurel Aitken,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.