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 Trinidad & Tobago and from Manila.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Salvador and Jakarta.
I'm losing my edge to the art-school New York 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the spring reverb 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 Mars to the electroclash 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 Funky Four + One. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every Radiohead record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
The Invisible,
Das Ding,
Angry Samoans,
Graham Central Station,
Dark Day,
Skriet,
Wire,
Magma,
Heaven 17,
Soft Machine,
Bauhaus,
Hot Snakes,
Mr. Review,
Grey Daturas,
Sound Behaviour,
Dennis Brown,
John Coltrane,
Au Pairs,
The Electric Prunes,
Quantec,
Tomorrow,
Hashim,
Funky Four + One,
Manfred Mann's Earth Band,
cv313,
A Flock of Seagulls,
Bob Dylan,
Max Romeo,
Aloha Tigers,
Public Enemy,
Carl Craig,
The Wake,
Ultravox,
Boz Scaggs,
Easy Going,
Bill Wells,
Little Man,
Agitation Free,
Frankie Knuckles,
Joe Smooth,
Isaac Hayes,
Suicide,
Talk Talk,
Amon Düül II,
Hasil Adkins,
Barclay James Harvest,
Arthur Verocai,
The Seeds,
The Victims,
Kas Product,
Vainqueur,
Louis and Bebe Barron,
Ronnie Foster,
Boogie Down Productions,
Main Source,
Yaz,
Sandy B,
Traffic Nightmare,
The Golliwogs,
The Motions,
Avey Tare,
Blancmange,
Q65, Q65, Q65, Q65.
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.