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 Palau and from Bremen.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1978.
I'm losing my edge.
To all the kids in Edmonton and Glasgow.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the organ sounds with much patience.
I was there when Tom Verlaine 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 Intrusion to the techno kids.
I played it at the Troubador.
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 New Order. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal electroclash 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Bootsy Collins,
Soul II Soul,
Hasil Adkins,
The West Coast Pop Art Experimental Band,
Gong,
Delon & Dalcan,
Motorama,
Crispy Ambulance,
Drive Like Jehu,
Stereo Dub,
Dr. Dre and Snoop Doggy Dog,
Scan 7,
Dark Day,
Marcia Griffiths,
A Flock of Seagulls,
Darondo,
X-101,
Urselle,
Moby Grape,
Jeff Mills,
Infiniti,
Swans,
Skriet,
Japan,
David Axelrod,
Colin Newman,
Pussy Galore,
Blake Baxter,
Tubeway Army,
Kenny Larkin,
Popol Vuh,
The Associates,
Stockholm Monsters,
The Peanut Butter Conspiracy,
Jimmy McGriff,
Teenage Jesus and the Jerks,
Scientists,
Soul Sonic Force,
Barbara Tucker,
Yusef Lateef,
Wings,
Audionom,
Lizzy Mercier Descloux,
Brand Nubian,
Jacques Brel,
Blossom Toes,
Bill Near,
Mary Jane Girls,
The Fugs,
Barrington Levy,
Junior Murvin,
Alton Ellis,
Major Organ And The Adding Machine,
Maleditus Sound,
The Beau Brummels,
Mark Hollis,
The Durutti Column,
Outsiders,
The Black Dice,
The J.B.'s,
Gang Green,
Fear, Fear, Fear, Fear.
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.