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 Qatar and from Salvador.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Houston and Mexico City.
I'm losing my edge to the art-school Cairo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar sounds with much patience.
I was there when Holger Czukay 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 Robert Görl to the grunge kids.
I played it at Cafe Wha.
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 Stooges. All the underground hits.
All AZ tracks. I heard you have a vinyl of every DJ Sneak record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Jacob Miller,
Gastr Del Sol,
Susan Cadogan,
The Alarm Clocks,
A Flock of Seagulls,
Marmalade,
The Fire Engines,
The Kinks,
Zapp,
Mr. Review,
The Wake,
The Saints,
Tropical Tobacco,
Country Joe & The Fish,
Bobby Hutcherson,
Pole,
Slave,
Livin' Joy,
Porter Ricks,
Chris & Cosey,
Peter and Kerry,
Barclay James Harvest,
China Crisis,
Gil Scott-Heron & Brian Jackson,
The Monochrome Set,
Heavy D & The Boyz,
Notorious Big And Bone Thugs,
The Beau Brummels,
Radiopuhelimet,
Ponytail,
Freddie Wadling,
Magazine,
Franke,
Connie Case,
Guru Guru,
Gang Green,
KRS-One,
The Vogues,
Bootsy Collins,
Albert Ayler,
Stetsasonic,
Bronski Beat,
Maleditus Sound,
Audionom,
Scientists,
kango's stein massive,
Crispy Ambulance,
Avey Tare & Kría Brekkan,
Joe Finger,
Agent Orange,
Hardrive,
Art Ensemble Of Chicago,
Wasted Youth,
Eddi Front,
The Tremeloes,
Isaac Hayes,
the Fania All-Stars,
Dawn Penn,
Gil Scott-Heron and Jamie xx,
Sixth Finger,
The Martian,
Cluster, Cluster, Cluster, Cluster.
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.