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 Maldives and from Shanghai.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Columbus and Halifax.
I'm losing my edge to the art-school Glasgow 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 spring reverb 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 Crooked Eye to the rap 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 The Royal Family And The Poor. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Barbara Tucker 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Liliput,
Flash Fearless,
Cabaret Voltaire,
The Count Five,
Country Teasers,
The Moleskins,
Audionom,
Chris & Cosey,
Avey Tare,
The Techniques,
Susan Cadogan,
The Litter,
John Lydon,
Cal Tjader,
Neu!,
Bill Near,
X-101,
Laurel Aitken,
Pere Ubu,
Bootsy's Rubber Band,
Sixth Finger,
Jandek,
Darondo,
The Fuzztones,
The Neon Judgement,
Sugar Minott,
Faraquet,
Black Moon,
Sonic Youth,
the Normal,
The Alarm Clocks,
Maurizio,
Ultramagnetic MC's,
The Birthday Party,
Gang Gang Dance,
Sexual Harrassment,
Marc Romboy vs. Booka Shade,
The Misunderstood,
Reagan Youth,
Tommy Roe,
the Fania All-Stars,
Pet Shop Boys,
Warsaw,
Dead Boys,
Gil Scott Heron,
Joe Finger,
Funkadelic,
The Saints,
Yellowson,
Max Romeo,
Mars,
It's A Beautiful Day,
Danielle Patucci,
Young Marble Giants,
Super Lover Cee & Casanova Rud,
Eric Dolphy,
Gabor Szabo,
Soft Machine,
Gary Puckett & The Union Gap,
Cluster,
Jimmy McGriff,
Graham Central Station,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.