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 Lithuania and from Tehran.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Lyon and Copenhagen.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Laurel Aitken to the punk kids.
I played it at Trash.
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 Barbara Tucker. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Judy Mowatt 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Pantaleimon,
Rhythim Is Rhythim,
Pussy Galore,
Fort Wilson Riot,
The Remains,
Sticky Fingaz feat. Raekwon,
Fat Boys,
Ohio Players,
Lucky Dragons,
Maleditus Sound,
Sam Rivers,
Royal Trux,
Amon Düül II,
Nils Olav,
Blossom Toes,
The Blues Magoos,
The Dead C,
The Monks,
Qualms,
the Association,
Shoche,
Echospace,
Alison Limerick,
Deadbeat,
Erasure,
X-101,
Lou Reed & Metallica,
Little Man,
London Community Gospel Choir,
Whodini,
Idris Muhammad,
the Bar-Kays,
Supertramp,
Bluetip,
Sun Ra Arkestra,
the Slits,
Boogie Down Productions,
Average White Band,
Adolescents,
The Birthday Party,
Althea and Donna,
Swell Maps,
The Litter,
Simply Red,
Robert Görl,
Yaz,
Bill Wells,
B.T. Express,
Andrew Hill,
Angels of Light & Akron/Family,
Organ,
Talk Talk,
Gregory Isaacs,
Lindisfarne,
The Raincoats,
Basic Channel,
Flipper,
Cybotron,
Interpol,
Red Lorry Yellow Lorry,
cv313,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.