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 Mali and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Delhi.
I'm losing my edge to the art-school Tehran 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 snare sounds with much patience.
I was there when David Bowie 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 Rotary Connection to the grime kids.
I played it at the Hacienda.
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 Rowland S Howard / Lydia Lunch. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Marvin Gaye 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ultimate Spinach record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blancmange,
The Count Five,
Rufus Thomas,
Josef K,
Zero Boys,
Faraquet,
Rowland S Howard / Lydia Lunch,
Dark Day,
Interpol,
Beasts of Bourbon,
Connie Case,
Bang on a Can All-Stars,
Spandau Ballet,
Sällskapet,
Pere Ubu,
T. Rex,
Lafayette Afro Rock Band,
Donald Byrd,
The Trojans,
Yusef Lateef,
Absolute Body Control,
the Association,
Marmalade,
Erasure,
The Move,
Sun Ra Arkestra,
Negative Approach,
June Days,
DNA,
Warsaw,
Sugar Minott,
Man Eating Sloth,
Kevin Saunderson,
Magazine,
Eyeless In Gaza,
Funkadelic,
Delta 5,
Fela Kuti,
X-102,
Sad Lovers and Giants,
Skaos,
The Human League,
Barry Ungar,
Joey Negro,
Laurel Aitken,
Anthony Braxton,
Ronan,
Banda Bassotti,
Oppenheimer Analysis,
Unrelated Segments,
Big Daddy Kane,
PIL,
H. Thieme,
Can,
Fort Wilson Riot,
Funky Four + One,
Maleditus Sound,
Lou Reed,
Black Bananas,
Ludus,
Wally Richardson,
Pharaoh Sanders and the Fire Engines,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.