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 Germany and from Delhi.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Accra and Beijing.
I'm losing my edge to the art-school Mexico City 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 London Community Gospel Choir to the punk 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 Slave. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal disco 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 guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Simply Red,
Vaughan Mason & Crew,
Colin Newman,
The Last Poets,
Gang of Four,
The Leaves,
Stereo Dub,
Liliput,
The Fall,
Jeff Mills,
The Slits,
Chris Corsano,
Faraquet,
The Dead C,
Rakim,
Nick Fraelich,
Sonny Sharrock,
Joe Finger,
Albert Ayler,
The Zeros,
The Modern Lovers,
Joe Smooth,
The Doors,
Hashim,
Nas,
Blossom Toes,
Don Cherry,
James Chance & The Contortions,
Man Parrish,
UT,
Connie Case,
Gil Scott-Heron and Jamie xx,
Sight & Sound,
The J.B.'s,
MDC,
The Sisters of Mercy,
Robert Wyatt,
Ultravox,
John Lydon,
The Red Krayola,
Bauhaus,
The Mummies,
Khruangbin,
Derrick May,
New Age Steppers,
Wolf Eyes,
Monks,
The New Christs,
Basic Channel,
Sad Lovers and Giants,
Gabor Szabo,
Glambeats Corp.,
Ossler,
Sly & The Family Stone,
Joyce Sims,
Eli Mardock,
Aural Exciters,
Stockholm Monsters,
Can,
Eric Copeland,
DJ Style, DJ Style, DJ Style, DJ Style.
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.