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 Togo and from Beijing.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1964 to 1979.
I'm losing my edge.
To all the kids in New York and Bremen.
I'm losing my edge to the art-school Cairo 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 sitar sounds with much patience.
I was there when Lou Reed 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 Shoche to the dance kids.
I played it at the Crocodile.
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 Sun Ra Arkestra. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal crunk 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 an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Oneida 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?
Eddi Front,
Glambeats Corp.,
The Mojo Men,
Main Source,
Quadrant,
Justin Hinds & The Dominoes,
The Moleskins,
Section 25,
A Flock of Seagulls,
Crooked Eye,
Glenn Branca,
The Dead C,
Dennis Brown,
Darondo,
Gang of Four,
Jawbox,
Ultravox,
Siouxsie and the Banshees,
Max Romeo,
Al Stewart,
Scott Walker,
Peter and Kerry,
Oppenheimer Analysis,
The Walker Brothers,
The Pretty Things,
Kenny Larkin,
Das Ding,
Byron Stingily,
Half Japanese,
Shoche,
Kevin Saunderson,
Mary Jane Girls,
Michelle Simonal,
Fela Kuti,
Amazonics,
Young Marble Giants,
The Raincoats,
L. Decosne,
Hashim,
Juan Atkins,
Organ,
Arcadia,
The United States of America,
Rapeman,
Quando Quango,
Minor Threat,
Sällskapet,
Mission of Burma,
Joyce Sims,
MDC,
H. Thieme,
Vladislav Delay,
James Chance & The Contortions,
DNA,
Notorious Big And Bone Thugs,
Echospace,
In Retrospect,
Yusef Lateef,
Wasted Youth,
The Invisible,
The Happenings,
Scan 7,
Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud.
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.