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 Botswana and from Madrid.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Lyon and Woodstock.
I'm losing my edge to the art-school Spokane 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the mellotron 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 Avey Tare's Slasher Flicks to the grunge kids.
I played it at the Astoria.
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 Sister Nancy. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every The Moody Blues 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Grauzone record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Curtis Mayfield,
The Cosmic Jokers,
Radiopuhelimet,
Peter and Kerry,
Crispian St. Peters,
Interpol,
David Axelrod,
Fad Gadget,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Moleskins,
Tears for Fears,
Vainqueur,
The Velvet Underground,
Andrew Ashong & Theo Parrish,
Toni Rubio,
Ten City,
Teenage Jesus and the Jerks,
Eric B and Rakim,
Model 500,
Drexciya,
Jawbox,
Johnny Clarke,
James Chance & The Contortions,
Sun City Girls,
Black Moon,
Flash Fearless,
Gregory Isaacs,
Mission of Burma,
Half Japanese,
ABBA,
Kauko Röyhkä ja Narttu,
Rufus Thomas,
De La Soul & Jungle Brothers,
Avey Tare,
Siglo XX,
Hashim,
Con Funk Shun,
Fear,
Swans,
Technova,
Sandy B,
Sugar Minott,
Throbbing Gristle,
Yusef Lateef,
Flipper,
Hasil Adkins,
Cybotron,
Bill Near,
Robert Hood,
ABC,
The Shadows of Knight,
Deepchord,
Scan 7,
Pierre Henry,
Arcadia,
Moebius,
Soulsonic Force,
The Blackbyrds,
Nas,
The Mummies,
Blancmange,
The Leaves,
Black Pus, Black Pus, Black Pus, Black Pus.
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.