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 Somalia and from Houston.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Madrid and Shanghai.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Kenny Larkin 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 Amon Düül. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every the Soft Cell record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Malaria! record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
The West Coast Pop Art Experimental Band,
Gang Green,
Bobby Hutcherson,
A Certain Ratio,
Television,
Scan 7,
Rhythim Is Rhythim,
Pantaleimon,
The Velvet Underground,
Dawn Penn,
Flipper,
The Grass Roots,
Negative Approach,
La Düsseldorf,
New Age Steppers,
Hot Snakes,
Bill Wells,
the Swans,
The Remains,
The Vogues,
Thinking Fellers Union Local 282,
Saccharine Trust,
Porter Ricks,
L. Decosne,
Ultravox,
Slick Rick,
Connie Case,
Brothers Johnson,
Jesper Dahlbäck,
Stockholm Monsters,
MDC,
Eyeless In Gaza,
Guru Guru,
David McCallum,
Audionom,
Flash Fearless,
Johnny Osbourne,
The Smiths,
Ossler,
Electric Light Orchestra,
James Chance & The Contortions,
Swell Maps,
Sandy B,
Japan,
Brand Nubian,
Q and Not U,
Quantec,
The Fuzztones,
Laurel Aitken,
Camron Feat. Jay Z And Juelz,
Sight & Sound,
Joyce Sims,
Max Romeo,
Underground Resistance,
Mark Hollis,
JFA,
Pole,
The Kinks,
Banda Bassotti,
Delta 5,
Aural Exciters,
Warsaw, Warsaw, Warsaw, Warsaw.
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.