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 Dominica and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Edmonton.
I'm losing my edge to the art-school New York 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 theremin 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 Hoover 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 Sticky Fingaz feat. Raekwon. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Aaron Thompson 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 '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Yellowson,
Tubeway Army,
Sad Lovers and Giants,
Amon Düül,
Thee Headcoats,
The Monochrome Set,
Nico,
The Misunderstood,
Larry & the Blue Notes,
The Jesus and Mary Chain,
Minnie Riperton,
Swell Maps,
Unwound,
Bobby Womack,
The Gun Club,
Fugazi,
The Mummies,
Arab on Radar,
Angels of Light & Akron/Family,
Arcadia,
Scientists,
Todd Terry,
Kenny Larkin,
Von Mondo,
Absolute Body Control,
The Blues Magoos,
Kings Of Tomorrow,
The Golliwogs,
The Motions,
Surgeon,
Sister Nancy,
Mandrill,
Half Japanese,
Matthew Halsall,
The Dave Clark Five,
kango's stein massive,
DNA,
Severed Heads,
Tom Boy,
H. Thieme,
Jesper Dahlback,
Shuggie Otis,
Bronski Beat,
Eric Dolphy,
Morten Harket,
The Electric Prunes,
New York Dolls,
Grauzone,
Selector Dub Narcotic,
Guru Guru,
Neu!,
Rosa Yemen,
Flipper,
The Men They Couldn't Hang,
The Moody Blues,
Rhythm & Sound,
Lightning Bolt,
Terry Callier,
Roxette,
Ludus,
Ultra Naté,
The Monks,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.