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 Iceland and from Cairo.
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 1975.
I'm losing my edge.
To all the kids in Calgary and Manila.
I'm losing my edge to the art-school Tehran 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 snare sounds with much patience.
I was there when David Bowie 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 The Vogues to the jazz 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 Frankie Knuckles. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every The Litter record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Super Lover Cee & Casanova Rud,
Cymande,
Man Eating Sloth,
Junior Murvin,
Bobbi Humphrey,
PIL,
Andrew Ashong & Theo Parrish,
Babytalk,
Kaleidoscope,
Fela Kuti,
The Skatalites,
Dorothy Ashby,
Captain Beefheart & His Magic Band,
The Doobie Brothers,
Dual Sessions,
Rotary Connection,
Brass Construction,
The Moleskins,
the Swans,
the Association,
Monolake,
Grandmaster Flash and the Furious Five,
Jandek,
Mark Hollis,
The Martian,
Lungfish,
Rites of Spring,
The Victims,
EPMD,
Half Japanese,
Gil Scott-Heron & Brian Jackson,
DeepChord presents Echospace,
Boogie Down Productions,
Clear Light,
Von Mondo,
Josef K,
Jacques Brel,
Ash Ra Tempel,
F. McDonald,
The United States of America,
Sound Behaviour,
The Beau Brummels,
The Fire Engines,
World's Most,
Amon Düül II,
Outsiders,
Brick,
X-101,
Angry Samoans,
KRS-One,
Moss Icon,
Sam Rivers,
Sunsets and Hearts,
Mission of Burma,
The West Coast Pop Art Experimental Band,
Lou Christie,
Selector Dub Narcotic,
The Real Kids,
Lightning Bolt,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.