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 Libya and from Philadelphia.
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 1976.
I'm losing my edge.
To all the kids in Portland and Manchester.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 Glambeats Corp. to the disco kids.
I played it at the Hacienda.
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 New Order. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal dance 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 Rakim record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe 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?
These Immortal Souls,
Kas Product,
Hasil Adkins,
Don Cherry,
The Pretty Things,
Depeche Mode,
Quadrant,
Eric Dolphy,
Minny Pops,
Tubeway Army,
Donald Byrd,
Andrew Ashong & Theo Parrish,
Blancmange,
Ponytail,
Johnny Clarke,
Peter & Gordon,
Gregory Isaacs,
The Buckinghams,
Red Lorry Yellow Lorry,
Terror Squad Feat. Camron,
48th St. Collective,
Pierre Henry,
Simply Red,
The Smiths,
The Searchers,
Roxy Music,
Average White Band,
Chris Corsano,
Hardrive,
Barclay James Harvest,
Los Fastidios,
Faraquet,
Strawberry Alarm Clock,
Buzzcocks,
Siouxsie and the Banshees,
Marine Girls,
Black Flag,
Chris & Cosey,
The Skatalites,
Ronan,
Nas,
Toni Rubio,
Yellowson,
Crispian St. Peters,
Fat Boys,
New Age Steppers,
Zero Boys,
The West Coast Pop Art Experimental Band,
Tomorrow,
cv313,
Funkadelic,
Fear,
June Days,
The Evens,
UT,
The Zeros,
Joe Finger,
Das Ding,
Camberwell Now,
Ornette Coleman,
Lou Reed & Metallica,
Fluxion,
The Move, The Move, The Move, The Move.
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.