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 Bahrain and from Portland.
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 1970.
I'm losing my edge.
To all the kids in Portland and Stockholm.
I'm losing my edge to the art-school Sao Paulo 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the linndrum 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 Erykah Badu to the electroclash 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 Shuggie Otis. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Blancmange record on German import.
I heard that you have a white label of every seminal rap 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 clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Terrestrial Tones,
Half Japanese,
Au Pairs,
the Fania All-Stars,
Lalo Schifrin,
Ultramagnetic MC's,
Sex Pistols,
Pantaleimon,
Mr. Review,
The Last Poets,
Kayak,
PIL,
Depeche Mode,
Thompson Twins,
Crispy Ambulance,
World's Most,
Laurel Aitken,
Arcadia,
Scion,
Sun Ra Arkestra,
Mary Jane Girls,
Ituana,
Rowland S Howard / Lydia Lunch,
Sonny Sharrock,
Japan,
The Shadows of Knight,
Amon Düül II,
The Dirtbombs,
Maurizio,
Khruangbin,
Robert Görl,
The Modern Lovers,
Boredoms,
Fifty Foot Hose,
Average White Band,
Vaughan Mason & Crew,
Reuben Wilson,
The Angels of Light,
The Selecter,
Radiohead,
Icehouse,
Anakelly,
Joensuu 1685,
The Searchers,
Gichy Dan,
Roger Hodgson,
Röyhkä ja Rättö ja Lehtisalo,
DNA,
Byron Stingily,
Cabaret Voltaire,
Young Marble Giants,
Deepchord,
These Immortal Souls,
The Smoke,
Wighnomy Brothers & Robag Wruhme,
Sight & Sound,
Pole,
Dr. Dre and Snoop Doggy Dog,
A Flock of Seagulls,
Michelle Simonal,
Funkadelic,
The Trojans,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.