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 France and from Lagos.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Manila and Copenhagen.
I'm losing my edge to the art-school Cairo 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 marimba 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 Buzzcocks to the grime kids.
I played it at the Troubador.
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 Gong. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Saccharine Trust 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 '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Groovy Waters 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?
Sight & Sound,
Banda Bassotti,
Nils Olav,
Q65,
Barrington Levy,
Basic Channel,
Crispy Ambulance,
Stockholm Monsters,
Shoche,
Pantaleimon,
Intrusion,
Ohio Players,
Sound Behaviour,
Ajijia Myrayebe,
Alton Ellis,
Chris & Cosey,
Simply Red,
Justin Hinds & The Dominoes,
Kango’s Stein Massive,
Amon Düül,
The Vogues,
Scan 7,
Jeff Mills,
EPMD,
Gang of Four,
Fluxion,
FM Einheit,
Roxette,
the Swans,
Pantytec,
The Standells,
De La Soul & Jungle Brothers,
Outsiders,
Little Man,
Guru Guru,
Skriet,
The Dirtbombs,
The Men They Couldn't Hang,
Faraquet,
Gregory Isaacs,
The Blackbyrds,
Eurythmics,
The Litter,
Pole,
Eli Mardock,
Gang Gang Dance,
Eve St. Jones,
Larry & the Blue Notes,
Nirvana,
Oneida,
Siouxsie and the Banshees,
Silicon Teens,
Ash Ra Tempel,
Manfred Mann's Earth Band,
Scion,
Marc Romboy vs. Booka Shade,
Danielle Patucci,
Barry Ungar,
The West Coast Pop Art Experimental Band,
Vladislav Delay,
Trumans Water,
Dorothy Ashby,
Mad Mike,
The Barracudas,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.