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 Netherlands and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Bologna.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the harpsichord sounds with much patience.
I was there when Holger Czukay 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 June Days to the grime kids.
I played it at CBGB's.
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 Brass Construction. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every Lou Reed & Metallica record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
Ten City,
Sight & Sound,
Alison Limerick,
DJ Sneak,
Janne Schatter,
Technova,
Lou Reed & John Cale,
Wighnomy Brothers & Robag Wruhme,
Spandau Ballet,
Country Teasers,
Subhumans,
Pole,
Derrick Morgan,
Porter Ricks,
Terror Squad Feat. Camron,
James Chance & The Contortions,
The Toasters,
Cecil Taylor,
the Swans,
Blossom Toes,
Gichy Dan,
Yellowson,
Half Japanese,
Shoche,
Urselle,
Sound Behaviour,
The West Coast Pop Art Experimental Band,
Infiniti,
Lizzy Mercier Descloux,
Clear Light,
Wire,
The Modern Lovers,
Pere Ubu,
The Sound,
Boredoms,
De La Soul & Jungle Brothers,
Jerry Gold Smith,
X-Ray Spex,
Black Moon,
Crispy Ambulance,
Echospace,
Robert Wyatt,
Popol Vuh,
The Flesh Eaters,
The American Breed,
Delon & Dalcan,
Jawbox,
Ajijia Myrayebe,
The Men They Couldn't Hang,
Grandmaster Flash and the Furious Five,
Anakelly,
Arthur Verocai,
Easy Going,
Jimmy McGriff,
The Fuzztones,
Marc Almond,
Amazonics,
Fela Kuti,
Main Source,
Lakeside,
Deutsch Amerikanische Freundschaft,
Black Bananas,
Rapeman, Rapeman, Rapeman, Rapeman.
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.