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 Nepal and from New York.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Delhi and Beijing.
I'm losing my edge to the art-school Mexico City 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 Rekid to the electroclash kids.
I played it at the Spitz.
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 Eric Dolphy. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every David McCallum record on German import.
I heard that you have a white label of every seminal jazz 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 arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
In Retrospect,
Niagra,
Anthony Braxton,
Richard Hell and the Voidoids,
Susan Cadogan,
Infiniti,
The New Christs,
James White and The Blacks,
DNA,
Icehouse,
Masters at Work,
Bill Wells,
Peter Gordon & Love of Life Orchestra,
The Names,
Man Parrish,
Todd Rundgren,
Lower 48,
the Slits,
Connie Case,
The Peanut Butter Conspiracy,
Sunsets and Hearts,
The Barracudas,
Mission of Burma,
Marc Almond,
MDC,
Marine Girls,
Sun Ra,
The American Breed,
Cheater Slicks,
Lonnie Liston Smith,
Stiv Bators,
Soulsonic Force,
DJ Sneak,
Jesper Dahlback,
Yaz,
The Buckinghams,
Erasure,
The Fugs,
Soul II Soul,
The Royal Family And The Poor,
Colin Newman,
Terrestrial Tones,
Symarip,
Gerry Rafferty,
Carl Craig,
Reuben Wilson,
FM Einheit,
Groovy Waters,
John Foxx,
Marvin Gaye,
Mark Hollis,
Young Marble Giants,
Motorama,
Boredoms,
X-Ray Spex,
The Dirtbombs,
Bluetip,
Larry & the Blue Notes,
Derrick May, Derrick May, Derrick May, Derrick May.
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.