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 Kuwait and from Lille.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in London and Houston.
I'm losing my edge to the art-school Glasgow 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 güiro 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 The Remains to the electroclash kids.
I played it at Trash.
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 Procol Harum. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Sugar Minott 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 marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Men They Couldn't Hang record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Lungfish,
Echo & the Bunnymen,
Visionaries,LMNO, T- Love & Iriscience,
Marmalade,
Boogie Down Productions,
Rites of Spring,
Siglo XX,
Tropical Tobacco,
The Kinks,
Deadbeat,
Blancmange,
Avey Tare,
Radiohead,
Magma,
Ajijia Myrayebe,
Connie Case,
Fear,
The American Breed,
Sonic Youth,
Surgeon,
Johnny Clarke,
Brick,
Nico,
It's A Beautiful Day,
Nation of Ulysses,
Judy Mowatt,
Brothers Johnson,
Joyce Sims,
Ohio Players,
Fort Wilson Riot,
Sunsets and Hearts,
Andrew Ashong & Theo Parrish,
R.M.O.,
Ten City,
Lebanon Hanover,
Lonnie Liston Smith,
The Vogues,
K-Klass,
The Gladiators,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Litter,
Half Japanese,
Ornette Coleman,
Unrelated Segments,
Brand Nubian,
Bad Manners,
Procol Harum,
Peter and Kerry,
Circle Jerks,
The Black Dice,
Janne Schatter,
Michelle Simonal,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Prince Buster,
Letta Mbulu,
Organ,
Scientists,
Man Parrish,
Das Ding,
The Blues Magoos,
Lalann, Lalann, Lalann, Lalann.
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.