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 Taipei.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1979.
I'm losing my edge.
To all the kids in Hong Kong and Toronto.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the organ sounds with much patience.
I was there when Tom Verlaine 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 A Certain Ratio to the electroclash kids.
I played it at the Troubador.
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 Moby Grape. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Moebius,
FM Einheit,
Shuggie Otis,
Hasil Adkins,
Jesper Dahlbäck,
Ajijia Myrayebe,
The Sonics,
Moby Grape,
Das Ding,
Mission of Burma,
The Real Kids,
Yazoo,
Tomorrow,
Peter Gordon & Love of Life Orchestra,
Chris Corsano,
The Slits,
Wolf Eyes,
The Dead C,
The Shadows of Knight,
The Monochrome Set,
Nick Cave & The Bad Seeds,
Gang Green,
Rites of Spring,
The Gladiators,
Electric Light Orchestra,
Marc Almond,
The Leaves,
Masters at Work,
Aural Exciters,
The Victims,
KRS-One,
The Litter,
Girls At Our Best!,
EPMD,
AZ,
Lou Reed & John Cale,
The Move,
Rhythm & Sound,
Bootsy's Rubber Band,
Andrew Hill,
Public Enemy,
Fort Wilson Riot,
Lafayette Afro Rock Band,
Ohio Players,
Half Japanese,
Traffic Nightmare,
Rapeman,
Bill Near,
Angels of Light & Akron/Family,
Peter and Kerry,
Animal Collective,
The Offenders,
Gregory Isaacs,
Stiv Bators,
Rhythim Is Rhythim,
Excepter,
Laurel Aitken,
The Residents,
World's Most,
Con Funk Shun,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.