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 Jamaica and from Tehran.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Shanghai.
I'm losing my edge to the art-school Beijing 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 Robert Palmer 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 John Foxx to the jazz kids.
I played it at the Hacienda.
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 Velvet Underground. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every The Residents 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 '90s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your güiro and bought a 808.
I hear that you and your band have sold your 808 and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Archie Shepp,
Susan Cadogan,
Drexciya,
The Pretty Things,
Amon Düül,
Wire,
Sarah Menescal,
Man Eating Sloth,
10cc,
Harpers Bizarre,
Agent Orange,
Kaleidoscope,
the Fania All-Stars,
The Fall,
Quando Quango,
Arcadia,
Marc Almond,
Dave Gahan,
Robert Görl,
Hashim,
Bizarre Inc.,
Stetsasonic,
Swans,
Circle Jerks,
The Dead C,
Bobby Hutcherson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gian Franco Pienzio,
Khruangbin,
Gang Gang Dance,
The Star Department,
The Trojans,
Tommy Roe,
Ponytail,
AZ,
Letta Mbulu,
CMW,
MC5,
The Offenders,
Matthew Halsall,
Radio Birdman,
The Slits,
Cecil Taylor,
Liaisons Dangereuses,
The Raincoats,
Idris Muhammad,
Harmonia,
Bobby Sherman,
Deadbeat,
Mantronix,
L. Decosne,
Art Ensemble Of Chicago,
Roger Hodgson,
a-ha,
Ralphi Rosario,
Swell Maps,
Sonny Sharrock,
Tomorrow,
Soft Cell,
Joey Negro,
Ice-T,
Leonard Cohen,
Pete Rock & C.L. Smooth,
Pagans, Pagans, Pagans, Pagans.
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.