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 Gambia and from Taipei.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1966 to 1976.
I'm losing my edge.
To all the kids in Bologna and Woodstock.
I'm losing my edge to the art-school Seoul 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 sitar sounds with much patience.
I was there when Holger Czukay 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 Barclay James Harvest to the rap 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 The Alarm Clocks. All the underground hits.
All Ludus tracks. I heard you have a vinyl of every Ronan 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ronan record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
Bang on a Can All-Stars,
Eyeless In Gaza,
The Star Department,
FM Einheit,
Lakeside,
Jimmy McGriff,
Visage,
Radio Birdman,
Black Moon,
Bizarre Inc.,
Avey Tare & Kría Brekkan,
Maurizio,
Kevin Saunderson,
David Bowie,
Country Joe & The Fish,
Marshall Jefferson,
Maleditus Sound,
The Trojans,
The Wake,
The Real Kids,
Second Layer,
Slave,
Jesper Dahlbäck,
The Slits,
Blancmange,
Amon Düül II,
DJ Sneak,
Avey Tare's Slasher Flicks,
X-102,
Sarah Menescal,
Be Bop Deluxe,
Frankie Knuckles,
Rites of Spring,
Depeche Mode,
Pet Shop Boys,
Gang of Four,
Suicide,
Fluxion,
Stockholm Monsters,
Spandau Ballet,
Matthew Halsall,
The Men They Couldn't Hang,
Donald Byrd,
Sonic Youth,
Fad Gadget,
Pussy Galore,
Cal Tjader,
Public Image Ltd.,
Boogie Down Productions,
Minutemen,
Country Teasers,
Unwound,
Susan Cadogan,
Yusef Lateef,
The Fugs,
Sad Lovers and Giants,
Cheater Slicks,
De La Soul & Jungle Brothers,
Intrusion,
Absolute Body Control,
Faust, Faust, Faust, Faust.
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.