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 Ethiopia and from Johannesburg.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Salvador.
I'm losing my edge to the art-school Woodstock 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Fad Gadget to the funk kids.
I played it at the Spitz.
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 Porter Ricks. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your güiro and bought a guitar.
I hear that you and your band have sold your guitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Man Eating Sloth,
Visionaries,LMNO, T- Love & Iriscience,
Radiopuhelimet,
The Victims,
Throbbing Gristle,
Circle Jerks,
Dave Gahan,
Public Image Ltd.,
John Holt,
Soul Sonic Force,
Peter Gordon & Love of Life Orchestra,
Roxy Music,
The Raincoats,
Popol Vuh,
Ossler,
Nik Kershaw,
The Gories,
The Residents,
Henry Cow,
48th St. Collective,
Joe Smooth,
Liliput,
The Toasters,
Swell Maps,
Heavy D & The Boyz,
Drive Like Jehu,
Yellowson,
Monks,
Goldenarms,
Royal Trux,
The Associates,
Kool G Rap & DJ Polo,
Intrusion,
Dark Day,
Donny Hathaway,
Gil Scott-Heron and Jamie xx,
Gang of Four,
FM Einheit,
Symarip,
Jerry's Kids,
Avey Tare's Slasher Flicks,
The Martian,
Fat Boys,
MDC,
The Trojans,
Roy Ayers Ubiquity,
Sixth Finger,
David McCallum,
The Skatalites,
The Durutti Column,
The Techniques,
Wire,
Saccharine Trust,
Reuben Wilson,
Country Joe & The Fish,
Vaughan Mason & Crew,
Boz Scaggs,
Q and Not U,
Bang On A Can,
Crime,
Eric B and Rakim,
ABC,
the Slits,
The Zeros, The Zeros, The Zeros, The Zeros.
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.