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 Bosnia Herzegovina and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Salvador and Madrid.
I'm losing my edge to the art-school Bremen 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Black Pus to the rock 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 Bad Manners. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Altered Images record on German import.
I heard that you have a white label of every seminal grunge 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 clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Mummies record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Henry Cow,
the Normal,
The Smiths,
New York Dolls,
The Gladiators,
Cabaret Voltaire,
Kool G Rap & DJ Polo,
Audionom,
Tres Demented,
Half Japanese,
Lalann,
The Electric Prunes,
Ultra Naté,
Agent Orange,
Andrew Ashong & Theo Parrish,
Barbara Tucker,
Lucky Dragons,
Radio Birdman,
Jacob Miller,
Minnie Riperton,
The Black Dice,
the Swans,
Circle Jerks,
Pete Rock & C.L. Smooth,
Hardrive,
Echo & the Bunnymen,
Hot Snakes,
Metal Thangz,
Lee Hazlewood,
Lyres,
Technova,
The Standells,
Selector Dub Narcotic,
Babytalk,
Johnny Osbourne,
Kayak,
F. McDonald,
Dennis Brown,
Con Funk Shun,
Bob Dylan,
Lakeside,
Animal Collective,
The Cramps,
ABBA,
Joyce Sims,
Joe Finger,
Intrusion,
Harpers Bizarre,
Rhythim Is Rhythim,
Skarface,
the Association,
Judy Mowatt,
Thinking Fellers Union Local 282,
Grauzone,
Eli Mardock,
Unrelated Segments,
The Raincoats,
Easy Going,
Arab on Radar,
Radiopuhelimet, Radiopuhelimet, Radiopuhelimet, Radiopuhelimet.
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.