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 Philippines and from Philadelphia.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Bremen and Tehran.
I'm losing my edge to the art-school Beijing 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 The Blues Magoos to the funk kids.
I played it at the Astoria.
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 Depeche Mode. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Dennis Brown record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
The Pop Group,
Drexciya,
Urselle,
Bronski Beat,
Slick Rick,
Saccharine Trust,
Amon Düül,
U.S. Maple,
Oneida,
The Victims,
Talk Talk,
The Offenders,
the Germs,
Sun City Girls,
Crispian St. Peters,
Pylon,
Roy Ayers Ubiquity,
The Zeros,
Agent Orange,
Sam Rivers,
X-101,
Jeff Mills,
Mary Jane Girls,
Matthew Bourne,
Carl Craig,
Peter and Kerry,
Connie Case,
Howard Jones,
T. Rex,
The Raincoats,
Los Fastidios,
New York Dolls,
The Blackbyrds,
Ituana,
cv313,
Supertramp,
Siglo XX,
Ossler,
Terry Callier,
The Tremeloes,
Massinfluence,
Kool Moe Dee,
Bootsy's Rubber Band,
Schoolly D,
The Moody Blues,
Freddie Wadling,
Unrelated Segments,
The Gladiators,
Minutemen,
F. McDonald,
Niagra,
Echospace,
Bobby Byrd,
Todd Terry,
Dorothy Ashby,
Marcia Griffiths,
Cybotron,
The Slits,
Trumans Water,
Iggy Pop,
E-Dancer,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.