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 Samoa and from Lyon.
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 1973.
I'm losing my edge.
To all the kids in Calgary and Salvador.
I'm losing my edge to the art-school Houston 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the clarinet sounds with much patience.
I was there when Robert Palmer 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 DJ Style to the electroclash kids.
I played it at the Spitz.
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 Qualms. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ralphi Rosario record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Pylon,
the Swans,
The Vogues,
Vladislav Delay,
Nick Cave & The Bad Seeds,
Freddie Wadling,
Echo & the Bunnymen,
Sonic Youth,
Dorothy Ashby,
Half Japanese,
Reuben Wilson,
Con Funk Shun,
New York Dolls,
Main Source,
Piero Umiliani,
Fatback Band,
The Electric Prunes,
Terry Callier,
Chris & Cosey,
Jeff Mills,
Symarip,
Black Bananas,
Popol Vuh,
R.M.O.,
In Retrospect,
Ultramagnetic MC's,
Bobby Sherman,
Lou Reed & John Cale,
cv313,
Sun Ra,
Art Ensemble Of Chicago,
Whodini,
Babytalk,
Aswad,
Gerry Rafferty,
Alice Coltrane,
Bronski Beat,
The Mojo Men,
Cymande,
Delta 5,
The Fortunes,
Spandau Ballet,
The United States of America,
Average White Band,
Groovy Waters,
Orchestral Manoeuvres in the Dark,
Boogie Down Productions,
Clear Light,
Peter and Kerry,
Warsaw,
X-101,
Soul II Soul,
Depeche Mode,
Marc Romboy vs. Booka Shade,
Eve St. Jones,
Bob Dylan,
Kings Of Tomorrow,
The Cure,
The Leaves,
Supertramp,
Qualms,
The New Christs,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.