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 Norway and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Beijing and Delhi.
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 chamberlin 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 Wings to the rock kids.
I played it at the Astoria.
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 Normal. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Chrome record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
B.T. Express,
H. Thieme,
Neil Young & Crazy Horse,
Depeche Mode,
Yaz,
The Durutti Column,
Todd Rundgren,
Talk Talk,
the Swans,
Siglo XX,
Skriet,
Joy Division,
Matthew Halsall,
Barbara Tucker,
Eli Mardock,
Monolake,
Ken Boothe,
The Saints,
Crispian St. Peters,
Yazoo,
DJ Style,
Peter and Kerry,
Chris & Cosey,
Tomorrow,
Aloha Tigers,
Procol Harum,
Massinfluence,
Excepter,
Marcia Griffiths,
The Busters,
Charles Mingus,
The Residents,
The Young Rascals,
Groovy Waters,
Faraquet,
Anakelly,
Gong,
The Red Krayola,
Faust,
Carl Craig,
Andrew Ashong & Theo Parrish,
Wally Richardson,
Oppenheimer Analysis,
Mary Jane Girls,
Sandy B,
Bobby Byrd,
a-ha,
Pussy Galore,
The Fire Engines,
Essential Logic,
Stockholm Monsters,
Notorious BIG live in Amsterdam,
The Mojo Men,
KRS-One,
Bootsy's Rubber Band,
X-101,
Vainqueur,
Spandau Ballet,
Gil Scott-Heron & Brian Jackson,
Organ,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.