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 Montenegro and from Tokyo.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Spokane and Spokane.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the rhodes 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 Delta 5 to the funk 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 Barbara Tucker. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every James Chance & The Contortions record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
Jeff Mills,
Gang Gang Dance,
The Mummies,
Grauzone,
Bobbi Humphrey,
Erasure,
Funky Four + One,
X-Ray Spex,
The Vogues,
Black Bananas,
Ossler,
Bootsy Collins,
Crooked Eye,
Althea and Donna,
Pussy Galore,
The Evens,
Barrington Levy,
Be Bop Deluxe,
The Fall,
Groovy Waters,
Porter Ricks,
Wasted Youth,
U.S. Maple,
Grandmaster Flash and the Furious Five,
Prince Buster,
Qualms,
Mo-Dettes,
Crime,
Sparks,
Fluxion,
Red Lorry Yellow Lorry,
Sound Behaviour,
Scion,
Reuben Wilson,
Moebius,
AZ,
Notorious Big And Bone Thugs,
Soul Sonic Force,
David Axelrod,
Eve St. Jones,
Model 500,
Teenage Jesus and the Jerks,
Magazine,
The Pop Group,
X-102,
Agitation Free,
Joyce Sims,
Jesper Dahlback,
Gregory Isaacs,
Audionom,
June of 44,
Bauhaus,
Henry Cow,
John Lydon,
Rosa Yemen,
Country Joe & The Fish,
The Searchers,
Masters at Work,
Gang Starr,
Johnny Osbourne,
Newcleus, Newcleus, Newcleus, Newcleus.
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.