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 Egypt and from Tokyo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Spokane and Halifax.
I'm losing my edge to the art-school Salvador 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 linndrum 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 Derrick May to the jazz 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 Brick. All the underground hits.
All Tres Demented tracks. I heard you have a vinyl of every Fad Gadget record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonny Sharrock,
Blancmange,
The Alarm Clocks,
Lindisfarne,
Peter Gordon & Love of Life Orchestra,
Mark Hollis,
Magma,
Kerrie Biddell,
Angry Samoans,
Dave Gahan,
Piero Umiliani,
Cecil Taylor,
Section 25,
Barrington Levy,
Grey Daturas,
Bush Tetras,
Frankie Knuckles,
Pierre Henry,
Kerri Chandler,
Donald Byrd,
Wings,
Soft Cell,
Judy Mowatt,
Technova,
Ponytail,
David McCallum,
The Cramps,
cv313,
Eric Dolphy,
Marshall Jefferson,
June Days,
Liliput,
Nas,
Malaria!,
Fatback Band,
Tommy Roe,
Gil Scott-Heron and Jamie xx,
Main Source,
Swans,
Lizzy Mercier Descloux,
Aaron Thompson,
Joensuu 1685,
Freddie Wadling,
Ohio Players,
The Sisters of Mercy,
The Stooges,
Amazonics,
Rufus Thomas,
Country Teasers,
The Electric Prunes,
Tears for Fears,
The Mojo Men,
Banda Bassotti,
ABC,
The West Coast Pop Art Experimental Band,
The Jesus and Mary Chain,
Infiniti,
Gerry Rafferty,
T. Rex,
Qualms,
Lou Reed,
Mo-Dettes,
KRS-One, KRS-One, KRS-One, KRS-One.
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.