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 Tanzania and from Glasgow.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Halifax and Johannesburg.
I'm losing my edge to the art-school Taipei 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Harpers Bizarre to the grime kids.
I played it at the Spitz.
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 Larry & the Blue Notes. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every Ornette Coleman 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 snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Soulsonic Force record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
The Fugs,
Kauko Röyhkä ja Narttu,
Oppenheimer Analysis,
The Associates,
Simply Red,
The Neon Judgement,
Hashim,
Kings Of Tomorrow,
Sound Behaviour,
Outsiders,
Pharaoh Sanders and the Fire Engines,
Bizarre Inc.,
Parry Music,
Funkadelic,
Ludus,
Jimmy McGriff,
Flipper,
Clear Light,
Prince Buster,
The United States of America,
Quantec,
Erasure,
Los Fastidios,
Marc Romboy vs. Booka Shade,
Scrapy,
Urselle,
Graham Central Station,
Mars,
Super Lover Cee & Casanova Rud,
The Blues Magoos,
Gil Scott-Heron & Brian Jackson,
Animal Collective,
David Axelrod,
Pantytec,
The Cure,
Sun Ra Arkestra,
Connie Case,
Chris Corsano,
Tres Demented,
Kevin Saunderson,
Ken Boothe,
Henry Cow,
Neu!,
The Move,
Spandau Ballet,
Janne Schatter,
Camberwell Now,
The Detroit Cobras,
Avey Tare's Slasher Flicks,
Zapp,
Yaz,
Mark Hollis,
Nick Fraelich,
Electric Prunes,
Marshall Jefferson,
La Düsseldorf,
Eve St. Jones,
Carl Craig,
Soft Machine,
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.