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 Congo and from Johannesburg.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Columbus and Philadelphia.
I'm losing my edge to the art-school London 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 oboe sounds with much patience.
I was there when Robert Palmer 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 Fire Engines 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 The Jesus and Mary Chain. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every The Gap Band 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Kool G Rap & DJ Polo record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Jerry's Kids,
Essential Logic,
John Cale,
Thompson Twins,
Notorious Big And Bone Thugs,
Buzzcocks,
The Star Department,
The Doors,
Sparks,
Scratch Acid,
Basic Channel,
Swans,
Strawberry Alarm Clock,
Aaron Thompson,
Mo-Dettes,
Magazine,
Rhythm & Sound,
Mary Jane Girls,
a-ha,
Barry Ungar,
Duran Duran,
Tres Demented,
Supertramp,
Bang On A Can,
Fort Wilson Riot,
Sandy B,
Animal Collective,
Malaria!,
John Coltrane,
Susan Cadogan,
Livin' Joy,
Negative Approach,
Rhythim Is Rhythim,
The Divine Comedy,
Neu!,
Lyres,
Qualms,
Pere Ubu,
Sexual Harrassment,
Popol Vuh,
Morten Harket,
Chrome,
The Toasters,
Sight & Sound,
Reagan Youth,
Anthony Braxton,
Toni Rubio,
Thinking Fellers Union Local 282,
Althea and Donna,
Kauko Röyhkä ja Narttu,
June of 44,
Second Layer,
Television,
The Music Machine,
the Soft Cell,
The Smoke,
Alton Ellis,
Metal Thangz,
Audionom,
Throbbing Gristle,
Grauzone, Grauzone, Grauzone, Grauzone.
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.