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 Uzbekistan and from Seoul.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Bremen and Houston.
I'm losing my edge to the art-school London 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 1978 at the first Visage practice in a loft in London.
I was working on the theremin 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 Sugar Minott to the rap kids.
I played it at the Roxy.
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 Donny Hathaway. All the underground hits.
All Mission of Burma tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal punk 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
London Community Gospel Choir,
Marine Girls,
Traffic Nightmare,
Desert Stars,
Angry Samoans,
The Vogues,
Terror Squad Feat. Camron,
Ludus,
De La Soul & Jungle Brothers,
Kerrie Biddell,
Bob Dylan,
Sound Behaviour,
Model 500,
Half Japanese,
Patti Smith,
Accadde A,
Gichy Dan,
Judy Mowatt,
Orchestral Manoeuvres in the Dark,
The Gap Band,
The Kinks,
Reuben Wilson,
the Germs,
The Neon Judgement,
Young Marble Giants,
Glenn Branca,
Maleditus Sound,
Lou Christie,
Basic Channel,
Lonnie Liston Smith,
Lou Reed & John Cale,
Camberwell Now,
Kauko Röyhkä ja Narttu,
Sight & Sound,
New Age Steppers,
Ice-T,
Dual Sessions,
Flamin' Groovies,
Todd Rundgren,
AZ,
Aswad,
New York Dolls,
Soul Sonic Force,
DJ Style,
Harmonia,
Stetsasonic,
Sixth Finger,
Sonny Sharrock,
T. Rex,
Eyeless In Gaza,
F. McDonald,
The Black Dice,
Man Parrish,
DeepChord presents Echospace,
Main Source,
This Heat,
Super Lover Cee & Casanova Rud,
Harry Pussy,
Robert Hood,
The New Christs,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.