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 Malawi and from Stockholm.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1962 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Mexico City.
I'm losing my edge to the art-school Columbus 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 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 Reuben Wilson to the grime kids.
I played it at the 40 Watt.
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 Faust. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Fort Wilson Riot 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Essential Logic,
James Chance & The Contortions,
Public Enemy,
A Certain Ratio,
Danielle Patucci,
Section 25,
Erasure,
Royal Trux,
The Count Five,
Wolf Eyes,
Joe Finger,
Dennis Brown,
N.O.R.E. Featuring Pharrell,
Terror Squad Feat. Camron,
EPMD,
Dave Gahan,
Buzzcocks,
Joe Smooth,
ABC,
The Electric Prunes,
Sällskapet,
Juan Atkins,
Quadrant,
The American Breed,
The Flesh Eaters,
Lou Reed,
The Dead C,
Funkadelic,
The Searchers,
A Flock of Seagulls,
The Pretty Things,
Magma,
Colin Newman,
Von Mondo,
Shuggie Otis,
The Zeros,
Major Organ And The Adding Machine,
The Invisible,
Audionom,
Pylon,
Rhythim Is Rhythim,
Magazine,
Reuben Wilson,
Absolute Body Control,
48th St. Collective,
John Holt,
Smog,
Altered Images,
Rahsaan Roland Kirk,
Tropical Tobacco,
The Leaves,
Lakeside,
The Gap Band,
Yaz,
The Sound,
The Moody Blues,
Ten City,
The Dave Clark Five,
Toni Rubio,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.