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 Denmark and from Cairo.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Milan and Lille.
I'm losing my edge to the art-school Taipei 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Crispy Ambulance to the disco 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 Marshall Jefferson. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal grunge 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 an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your 808 and bought a guitar.
I hear that you and your band have sold your guitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Mantronix,
Soft Machine,
Kaleidoscope,
Ornette Coleman,
Dead Boys,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Thinking Fellers Union Local 282,
Amon Düül,
The Alarm Clocks,
The Dead C,
The Red Krayola,
Davy DMX,
Avey Tare & Kría Brekkan,
Organ,
E-Dancer,
Blossom Toes,
Deakin,
The Cramps,
Ronan,
Lonnie Liston Smith,
Sarah Menescal,
Gichy Dan,
Babytalk,
Robert Wyatt,
Lindisfarne,
Crispy Ambulance,
Kauko Röyhkä ja Narttu,
Moss Icon,
Scott Walker + Sunn O))),
Pagans,
Tears for Fears,
The Names,
The Smoke,
Zapp,
John Foxx,
Gil Scott-Heron and Jamie xx,
The Fall,
The Velvet Underground,
Danielle Patucci,
Roxette,
Ten City,
Lebanon Hanover,
Röyhkä ja Rättö ja Lehtisalo,
Television,
Deadbeat,
Kango’s Stein Massive,
Easy Going,
Oppenheimer Analysis,
Icehouse,
Tropical Tobacco,
Peter & Gordon,
Barry Ungar,
Throbbing Gristle,
Country Teasers,
Deepchord,
Jacob Miller,
Ultravox,
Khruangbin,
Shoche,
Cameo, Cameo, Cameo, Cameo.
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.