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 Spain and from Cairo.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Bologna and Portland.
I'm losing my edge to the art-school Tokyo 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 linndrum 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 Marvin Gaye to the rap kids.
I played it at Trash.
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 Scratch Acid. All the underground hits.
All Pete Rock & C.L. Smooth tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
The Mighty Diamonds,
Juan Atkins,
Funky Four + One,
London Community Gospel Choir,
the Normal,
Mo-Dettes,
Masters at Work,
ABBA,
Warsaw,
Dorothy Ashby,
The Smoke,
The Buckinghams,
The Detroit Cobras,
the Germs,
The J.B.'s,
Blake Baxter,
Black Sheep,
Prince Buster,
The Searchers,
Country Joe & The Fish,
The Skatalites,
David Bowie,
Angels of Light & Akron/Family,
Althea and Donna,
Model 500,
Bootsy Collins,
Moby Grape,
Robert Görl,
Steve Hackett,
E-Dancer,
Carl Craig,
Terry Callier,
Fat Boys,
Cecil Taylor,
LL Cool J,
The Gories,
The Martian,
Connie Case,
Tomorrow,
Marvin Gaye,
Television Personalities,
Wolf Eyes,
Quadrant,
Bob Dylan,
Throbbing Gristle,
The Five Americans,
Erykah Badu,
Unrelated Segments,
Minor Threat,
Saccharine Trust,
Yaz,
Shuggie Otis,
Crash Course in Science,
Alton Ellis,
Nils Olav,
Absolute Body Control,
Scion,
DeepChord presents Echospace,
OOIOO,
Bang on a Can All-Stars,
Agitation Free, Agitation Free, Agitation Free, Agitation Free.
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.