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 Switzerland and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1978.
I'm losing my edge.
To all the kids in Halifax and Beijing.
I'm losing my edge to the art-school Seoul 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 synthesizer 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 The Walker Brothers to the punk 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 Red Krayola. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Moody Blues record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Brass Construction,
London Community Gospel Choir,
Lindisfarne,
Scott Walker,
Ken Boothe,
Letta Mbulu,
Donny Hathaway,
U.S. Maple,
Janne Schatter,
Jawbox,
Buzzcocks,
John Holt,
Susan Cadogan,
Interpol,
Bobby Womack,
The Dave Clark Five,
Yusef Lateef,
June Days,
Lizzy Mercier Descloux,
Gastr Del Sol,
Oblivians,
Babytalk,
The Star Department,
These Immortal Souls,
Curtis Mayfield,
Fugazi,
Bang on a Can All-Stars,
The Victims,
Eli Mardock,
John Foxx,
Electric Prunes,
Blossom Toes,
Fear,
Bill Near,
kango's stein massive,
Glenn Branca,
Aswad,
Cybotron,
Lower 48,
Zapp,
Andrew Ashong & Theo Parrish,
Moss Icon,
Todd Terry,
Dennis Brown,
Lee Hazlewood,
Public Image Ltd.,
Sun Ra Arkestra,
Q and Not U,
Amazonics,
Japan,
Gang Starr,
Gary Puckett & The Union Gap,
The Pretty Things,
Average White Band,
Banda Bassotti,
Louis and Bebe Barron,
Barbara Tucker,
Flipper,
Smog,
Terror Squad Feat. Camron,
Grey Daturas,
Danielle Patucci,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.