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 Swaziland and from Tokyo.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Tehran and Stockholm.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 Joe Smooth to the techno kids.
I played it at the Crocodile.
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 Niagra. All the underground hits.
All 8 Eyed Spy tracks. I heard you have a vinyl of every Goldenarms 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your clarinet and bought an organ.
I hear that you and your band have sold your organ and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Mars,
Richard Hell and the Voidoids,
Liaisons Dangereuses,
Massinfluence,
Crime,
Thee Headcoats,
the Swans,
The Residents,
Tropical Tobacco,
The Monochrome Set,
Sixth Finger,
The West Coast Pop Art Experimental Band,
Avey Tare,
Alison Limerick,
Swell Maps,
Aural Exciters,
Hot Snakes,
Warsaw,
T. Rex,
Icehouse,
Orchestral Manoeuvres in the Dark,
Pulsallama,
Judy Mowatt,
Howard Jones,
Urselle,
Audionom,
Interpol,
Peter Gordon & Love of Life Orchestra,
Absolute Body Control,
Tim Buckley,
Jandek,
The Cowsills,
It's A Beautiful Day,
Fatback Band,
Tommy Roe,
Lou Reed,
Delon & Dalcan,
Notorious Big And Bone Thugs,
Roxy Music,
Subhumans,
Loose Ends,
Faraquet,
Grauzone,
Joyce Sims,
Dennis Brown,
Animal Collective,
John Holt,
Frankie Knuckles,
Glambeats Corp.,
Wally Richardson,
Infiniti,
Hashim,
Gil Scott-Heron and Jamie xx,
Laurel Aitken,
DeepChord presents Echospace,
Robert Hood,
Funky Four + One,
The Barracudas,
John Lydon,
La Düsseldorf,
Rotary Connection,
Yusef Lateef,
A Certain Ratio,
The Cramps, The Cramps, The Cramps, The Cramps.
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.