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 Lebanon and from Tokyo.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Taipei and Houston.
I'm losing my edge to the art-school Winnipeg 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Porter Ricks to the rap 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 Technova. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every The Toasters record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television Personalities,
Echo & the Bunnymen,
Andrew Ashong & Theo Parrish,
The Victims,
Underground Resistance,
Michelle Simonal,
Glenn Branca,
Guru Guru,
Gang Gang Dance,
The Monks,
Thompson Twins,
Animal Collective,
Leonard Cohen,
Orchestral Manoeuvres in the Dark,
The Litter,
Chris & Cosey,
Ronnie Foster,
Nik Kershaw,
Spandau Ballet,
Man Eating Sloth,
Traffic Nightmare,
A Certain Ratio,
Lightning Bolt,
Deutsch Amerikanische Freundschaft,
Robert Görl,
Jacques Brel,
Rowland S Howard / Lydia Lunch,
The Smiths,
Crooked Eye,
Y Pants,
Funky Four + One,
Susan Cadogan,
Juan Atkins,
Alphaville,
Quantec,
Peter & Gordon,
Second Layer,
Index,
Soulsonic Force,
Piero Umiliani,
Byron Stingily,
Laurel Aitken,
Ralphi Rosario,
The Stooges,
Yaz,
Yazoo,
Siouxsie and the Banshees,
The Velvet Underground,
Unwound,
Idris Muhammad,
Frankie Knuckles,
David Axelrod,
Joyce Sims,
The Gories,
Duran Duran,
Sight & Sound,
Pierre Henry,
The Moody Blues,
Scientists,
The Searchers,
UT, UT, UT, UT.
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.