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 Seychelles and from Woodstock.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Salvador and Lyon.
I'm losing my edge to the art-school Hong Kong 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 Gregory Isaacs to the techno 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 Fela Kuti. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ash Ra Tempel,
Kings Of Tomorrow,
R.M.O.,
Pierre Henry,
Dual Sessions,
The Smiths,
Tropical Tobacco,
Depeche Mode,
The Remains,
Black Moon,
Excepter,
Ituana,
Thompson Twins,
Echo & the Bunnymen,
Glambeats Corp.,
The Misunderstood,
Bobbi Humphrey,
Moss Icon,
Kool Moe Dee,
Harry Pussy,
Mary Jane Girls,
Red Lorry Yellow Lorry,
Roger Hodgson,
Parry Music,
Faust,
Black Flag,
Marmalade,
Beasts of Bourbon,
Avey Tare's Slasher Flicks,
Pharoah Sanders,
The Doobie Brothers,
Slave,
Ultimate Spinach,
Glenn Branca,
The Divine Comedy,
Crash Course in Science,
Motorama,
the Swans,
A Flock of Seagulls,
Dawn Penn,
John Holt,
Black Bananas,
Sticky Fingaz feat. Raekwon,
Andrew Hill,
Severed Heads,
The Five Americans,
Nils Olav,
Gil Scott-Heron and Jamie xx,
Graham Central Station,
Matthew Bourne,
Aural Exciters,
FM Einheit,
Cymande,
Skriet,
Johnny Clarke,
a-ha,
Pere Ubu,
KRS-One,
Mantronix,
The Cowsills,
James Chance & The Contortions,
Eric Dolphy,
The Star Department,
Aswad, Aswad, Aswad, Aswad.
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.