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 St Kitts & Nevis and from Madrid.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1975.
I'm losing my edge.
To all the kids in London and Milan.
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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 kango's stein massive to the jazz 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 Ultra Naté. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every Pierre Henry 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 '70s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Black Sheep record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Black Flag,
Pulsallama,
Pere Ubu,
Bobbi Humphrey,
The Chocolate Watch Band,
The Velvet Underground,
Toni Rubio,
Judy Mowatt,
Boogie Down Productions,
The Saints,
The Vogues,
The Standells,
Don Cherry,
Neu!,
Zero Boys,
Hardrive,
Bobby Womack,
Outsiders,
Lonnie Liston Smith,
Lee Hazlewood,
Kool Moe Dee,
Ituana,
Warren Ellis,
Sunsets and Hearts,
Ultramagnetic MC's,
David McCallum,
Gregory Isaacs,
Parry Music,
Flamin' Groovies,
Monolake,
Ajijia Myrayebe,
Nas,
Harry Pussy,
Boz Scaggs,
Jerry Gold Smith,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Marmalade,
X-102,
Monks,
Avey Tare's Slasher Flicks,
Arthur Verocai,
B.T. Express,
Intrusion,
EPMD,
Maleditus Sound,
Scrapy,
The Detroit Cobras,
Mad Mike,
The Gap Band,
Deepchord,
Kool G Rap & DJ Polo,
H. Thieme,
Dave Gahan,
Nation of Ulysses,
Leonard Cohen,
Rhythm & Sound,
Brass Construction,
Lower 48,
Cameo,
Groovy Waters,
Pete Rock & C.L. Smooth,
Tears for Fears,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.