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 Mauritania and from Portland.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1975.
I'm losing my edge.
To all the kids in Portland and Portland.
I'm losing my edge to the art-school Hong Kong 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 Bobbi Humphrey to the dance 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 Lucky Dragons. All the underground hits.
All Franke tracks. I heard you have a vinyl of every Cymande record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Fort Wilson Riot,
FM Einheit,
The West Coast Pop Art Experimental Band,
Amazonics,
Crispy Ambulance,
La Düsseldorf,
Tres Demented,
Theoretical Girls,
Pantytec,
Eve St. Jones,
Duran Duran,
The Skatalites,
Spandau Ballet,
Delta 5,
Talk Talk,
Lalann,
Boredoms,
Matthew Halsall,
Althea and Donna,
The Shadows of Knight,
Tommy Roe,
Idris Muhammad,
Mission of Burma,
Sound Behaviour,
Glenn Branca,
The Men They Couldn't Hang,
Matthew Bourne,
Wings,
Bobby Byrd,
Organ,
Deakin,
Angry Samoans,
Little Man,
Guru Guru,
Loose Ends,
Camberwell Now,
Bootsy's Rubber Band,
Can,
Laurel Aitken,
Saccharine Trust,
Peter and Kerry,
the Soft Cell,
Das Ding,
Sugar Minott,
Johnny Clarke,
Gong,
Sex Pistols,
Gil Scott Heron,
Lakeside,
Agitation Free,
Lower 48,
Sight & Sound,
Groovy Waters,
The Doors,
Janne Schatter,
Nik Kershaw,
Colin Newman,
Rosa Yemen,
Urselle,
Section 25,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.