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 Guatemala and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1971.
I'm losing my edge.
To all the kids in Paris and Jakarta.
I'm losing my edge to the art-school Stockholm 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 sitar sounds with much patience.
I was there when David Bowie 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 Joy Division to the grime kids.
I played it at the Roxy.
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 Peter and Kerry. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Nico 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Sun Ra,
Lou Reed & John Cale,
Sarah Menescal,
It's A Beautiful Day,
Yusef Lateef,
A Certain Ratio,
Mo-Dettes,
Bang On A Can,
U.S. Maple,
MDC,
Graham Central Station,
Amon Düül,
Avey Tare's Slasher Flicks,
The Count Five,
Scion,
Kerrie Biddell,
Severed Heads,
Carl Craig,
Pere Ubu,
Tomorrow,
Fear,
Faraquet,
Bobby Hutcherson,
Kevin Saunderson,
Peter and Kerry,
Eric Copeland,
Byron Stingily,
Mad Mike,
DJ Sneak,
Toni Rubio,
Aswad,
Robert Hood,
Pharoah Sanders,
Mantronix,
Dawn Penn,
Roger Hodgson,
Rotary Connection,
Eurythmics,
kango's stein massive,
Pet Shop Boys,
Howard Jones,
Gary Puckett & The Union Gap,
Anthony Braxton,
Suburban Knight,
LL Cool J,
The Flesh Eaters,
The Human League,
The Modern Lovers,
Goldenarms,
The Chocolate Watch Band,
Beasts of Bourbon,
Pharaoh Sanders and the Fire Engines,
Adolescents,
Piero Umiliani,
Thee Headcoats,
Lou Reed & Metallica,
Nation of Ulysses,
Accadde A,
Negative Approach,
Dark Day,
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.