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 Lithuania and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Mumbai.
I'm losing my edge to the art-school Paris 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 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 Faraquet to the disco kids.
I played it at the Crocodile.
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 John Cale. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Robert Görl 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 '50s cut and another box set from the '80s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Joensuu 1685 record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Moby Grape,
Masters at Work,
The Gories,
Aswad,
Gerry Rafferty,
Byron Stingily,
Thompson Twins,
Godley & Creme,
Josef K,
Richard Hell and the Voidoids,
The Knickerbockers,
The Slits,
Patti Smith,
Barry Ungar,
E-Dancer,
Outsiders,
Little Man,
Yellowson,
The Golliwogs,
Jawbox,
Roy Ayers,
Don Cherry,
The United States of America,
L. Decosne,
Organ,
Moebius,
Arthur Verocai,
Scan 7,
Groovy Waters,
Dorothy Ashby,
Pussy Galore,
Jeff Mills,
Joe Finger,
The Moleskins,
The Move,
The Mighty Diamonds,
Mission of Burma,
PIL,
The Skatalites,
Laurel Aitken,
Sixth Finger,
Yazoo,
Skaos,
The Smoke,
The Invisible,
Absolute Body Control,
Wire,
Scratch Acid,
Buzzcocks,
Larry & the Blue Notes,
Anthony Braxton,
The Real Kids,
Shuggie Otis,
Minor Threat,
World's Most,
The Martian,
The Selecter,
Mary Jane Girls,
Orchestral Manoeuvres in the Dark,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.