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 Equatorial Guinea and from Johannesburg.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Lagos and Halifax.
I'm losing my edge to the art-school Edmonton 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator 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 Gil Scott Heron 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 Hoover. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Schoolly D 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Jawbox,
Rekid,
The Buckinghams,
Jeff Mills,
Robert Görl,
Main Source,
Sex Pistols,
Swell Maps,
Fatback Band,
Alphaville,
Lou Reed,
Kool G Rap & DJ Polo,
Pantaleimon,
Susan Cadogan,
Fort Wilson Riot,
Nation of Ulysses,
Kings Of Tomorrow,
La Düsseldorf,
Clear Light,
Juan Atkins,
Max Romeo,
Marshall Jefferson,
New Order,
Flamin' Groovies,
Franke,
Desert Stars,
Dave Gahan,
The Smoke,
Davy DMX,
Babytalk,
Fad Gadget,
Joy Division,
Duran Duran,
Icehouse,
Lou Christie,
Zero Boys,
Flipper,
the Fania All-Stars,
Sun Ra,
Wally Richardson,
Justin Hinds & The Dominoes,
Rufus Thomas,
Slick Rick,
The Real Kids,
Joe Smooth,
The Associates,
Thee Headcoats,
Boogie Down Productions,
Bootsy's Rubber Band,
The Index,
Qualms,
Crispian St. Peters,
Donald Byrd,
Major Organ And The Adding Machine,
Groovy Waters,
Delon & Dalcan,
The Jesus and Mary Chain,
Yazoo,
The Count Five,
Alton Ellis,
Sight & Sound,
Rites of Spring,
Darondo, Darondo, Darondo, Darondo.
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.