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 Mongolia and from Madrid.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Portland and Sao Paulo.
I'm losing my edge to the art-school Winnipeg 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 Josef K practice in a loft in Edinburgh.
I was working on the clarinet 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 Rapeman to the grime kids.
I played it at CBGB's.
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 Man Eating Sloth. All the underground hits.
All Basic Channel tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonny Sharrock,
Deadbeat,
Japan,
Section 25,
Sexual Harrassment,
Sad Lovers and Giants,
The Leaves,
Roger Hodgson,
Slick Rick,
The Vogues,
Agent Orange,
The Fortunes,
Man Eating Sloth,
The Grass Roots,
Eden Ahbez,
The Divine Comedy,
Chris & Cosey,
Angry Samoans,
Flash Fearless,
Girls At Our Best!,
Nirvana,
The Busters,
Roy Ayers Ubiquity,
Q65,
Gil Scott-Heron and Jamie xx,
One Last Wish,
Traffic Nightmare,
Dual Sessions,
Sugar Minott,
Magma,
The Moleskins,
The Detroit Cobras,
The Red Krayola,
New Order,
Supertramp,
Royal Trux,
the Slits,
Eric B and Rakim,
Loose Ends,
Carl Craig,
Crash Course in Science,
Fat Boys,
A Flock of Seagulls,
Cluster,
Quadrant,
Nick Fraelich,
Aural Exciters,
Derrick Morgan,
Rod Modell,
Fatback Band,
Inner City,
Guru Guru,
The Searchers,
Louis and Bebe Barron,
The Sound,
Pantaleimon,
Ultravox,
The Smoke,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.