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 Afghanistan and from Lille.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Taipei and Columbus.
I'm losing my edge to the art-school Lyon 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 spring reverb 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 Sällskapet to the grunge kids.
I played it at the 40 Watt.
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 Shoche. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Lou Reed 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis 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?
The Electric Prunes,
Fifty Foot Hose,
Angry Samoans,
John Coltrane,
Vainqueur,
Throbbing Gristle,
Alison Limerick,
Todd Terry,
Public Image Ltd.,
The Busters,
Bush Tetras,
The Happenings,
Rahsaan Roland Kirk,
Kool G Rap & DJ Polo,
Albert Ayler,
Eve St. Jones,
Barbara Tucker,
Bobby Hutcherson,
Lebanon Hanover,
David McCallum,
Liaisons Dangereuses,
Rakim,
Pulsallama,
Zapp,
Sonny Sharrock,
H. Thieme,
The Techniques,
The Modern Lovers,
Ralphi Rosario,
Brass Construction,
Nick Fraelich,
Barry Ungar,
Quantec,
X-102,
Faust,
Notorious Big And Bone Thugs,
Connie Case,
Teenage Jesus and the Jerks,
Gang Gang Dance,
Young Marble Giants,
Jesper Dahlbäck,
The Royal Family And The Poor,
The Saints,
La Düsseldorf,
Agitation Free,
Marc Romboy vs. Booka Shade,
John Holt,
The Move,
Rhythim Is Rhythim,
Stetsasonic,
The Sonics,
David Axelrod,
Nas,
L. Decosne,
Sam Rivers,
DJ Sneak,
New Order,
The Cure,
Ash Ra Tempel,
Gary Puckett & The Union Gap,
Echo & the Bunnymen,
Barclay James Harvest,
Guru Guru,
Yusef Lateef,
Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud.
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.