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 Djibouti and from Shanghai.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Mumbai.
I'm losing my edge to the art-school Taipei 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 güiro 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 Stockholm Monsters to the jazz kids.
I played it at Trash.
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 Barbara Tucker. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every Curtis Mayfield record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Jacques Brel,
Bobby Sherman,
Harmonia,
Outsiders,
The Cramps,
Oneida,
The Index,
Laurel Aitken,
Terry Callier,
Susan Cadogan,
Faraquet,
Robert Wyatt,
Prince Buster,
Michelle Simonal,
Essential Logic,
Hoover,
Public Image Ltd.,
Andrew Hill,
Can,
Main Source,
Bobbi Humphrey,
Circle Jerks,
Rapeman,
Marcia Griffiths,
Soulsonic Force,
Shoche,
Bush Tetras,
Y Pants,
UT,
Vaughan Mason & Crew,
Grandmaster Flash and the Furious Five,
Radiohead,
The Human League,
Eden Ahbez,
Funky Four + One,
The Chocolate Watch Band,
Marmalade,
Eli Mardock,
Porter Ricks,
Rhythim Is Rhythim,
The Remains,
Curtis Mayfield,
Avey Tare & Kría Brekkan,
Chrome,
Red Lorry Yellow Lorry,
Excepter,
Scan 7,
The Doobie Brothers,
China Crisis,
Bizarre Inc.,
the Slits,
Al Stewart,
Wally Richardson,
The Selecter,
Blancmange,
Deadbeat,
The Victims,
Stockholm Monsters,
Piero Umiliani,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.