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 Italy and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1979.
I'm losing my edge.
To all the kids in London and Salvador.
I'm losing my edge to the art-school Toronto 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Faraquet to the grime kids.
I played it at CBGB's.
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 Ken Boothe. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Gang Starr 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Basic Channel,
Erasure,
The Motions,
Scrapy,
Jacques Brel,
Susan Cadogan,
Eli Mardock,
Echospace,
Crispy Ambulance,
Hashim,
The Remains,
Goldenarms,
The Seeds,
Roy Ayers,
Country Joe & The Fish,
Darondo,
Tommy Roe,
Wally Richardson,
Pulsallama,
Frankie Knuckles,
The Toasters,
Accadde A,
The Real Kids,
Alton Ellis,
Schoolly D,
Blossom Toes,
Matthew Halsall,
Eric Copeland,
James Chance & The Contortions,
Technova,
Hot Snakes,
The Human League,
Sandy B,
The Doobie Brothers,
The Standells,
Sexual Harrassment,
Cabaret Voltaire,
The Gap Band,
Alison Limerick,
Popol Vuh,
London Community Gospel Choir,
Thinking Fellers Union Local 282,
Unwound,
Vainqueur,
Blancmange,
Lindisfarne,
Depeche Mode,
U.S. Maple,
Spoonie Gee,
Pussy Galore,
Babytalk,
Minny Pops,
Newcleus,
Bizarre Inc.,
Delon & Dalcan,
Parry Music,
Magazine,
The Pop Group,
Swans,
Inner City,
Gil Scott-Heron & Brian Jackson,
Model 500,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.