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 Belgium and from Copenhagen.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Salvador.
I'm losing my edge to the art-school Woodstock 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Japan to the grime 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 Arthur Verocai. All the underground hits.
All Sun Ra Arkestra tracks. I heard you have a vinyl of every Bush Tetras record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Bobbi Humphrey record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
The Beau Brummels,
Minor Threat,
Kayak,
The Cosmic Jokers,
Tomorrow,
Barrington Levy,
The Saints,
Lakeside,
Vainqueur,
Fela Kuti,
Skriet,
Unrelated Segments,
Cymande,
Richard Hell and the Voidoids,
Mary Jane Girls,
Eurythmics,
Arcadia,
Joensuu 1685,
Soul II Soul,
Sun Ra,
Donald Byrd,
Echo & the Bunnymen,
The Five Americans,
Amon Düül,
Soft Machine,
The Victims,
Bob Dylan,
John Coltrane,
Roxette,
Tommy Roe,
Public Image Ltd.,
Lou Reed & Metallica,
Mandrill,
Scientists,
The Black Dice,
Symarip,
Eyeless In Gaza,
the Human League,
Ituana,
Fad Gadget,
Harry Pussy,
The Neon Judgement,
Cluster,
Mars,
Flamin' Groovies,
Spandau Ballet,
James Chance & The Contortions,
Wighnomy Brothers & Robag Wruhme,
Theoretical Girls,
Bush Tetras,
Von Mondo,
Idris Muhammad,
Gil Scott-Heron & Brian Jackson,
Joyce Sims,
Eli Mardock,
Ultravox,
F. McDonald,
Arthur Verocai,
Ash Ra Tempel,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.