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 Nauru and from Lille.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Accra.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the organ sounds with much patience.
I was there when Michael McDonald 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 Mo-Dettes to the funk 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 Scrapy. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every The Electric Prunes 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Trumans Water,
Mandrill,
Sun Ra Arkestra,
Derrick May,
Avey Tare's Slasher Flicks,
Q65,
The Dave Clark Five,
Big Daddy Kane,
Loose Ends,
Make Up,
The Litter,
Hashim,
Rosa Yemen,
The Velvet Underground,
Freddie Wadling,
Pete Rock & C.L. Smooth,
Maleditus Sound,
Quadrant,
Aaron Thompson,
Richard Hell and the Voidoids,
Oppenheimer Analysis,
Derrick Morgan,
KRS-One,
Strawberry Alarm Clock,
The Sonics,
The Standells,
Q and Not U,
Groovy Waters,
John Lydon,
Oblivians,
The Music Machine,
L. Decosne,
The Birthday Party,
Dave Gahan,
Orchestral Manoeuvres in the Dark,
Symarip,
Sam Rivers,
DJ Style,
Ice-T,
Traffic Nightmare,
John Coltrane,
The Gap Band,
The Remains,
Donald Byrd,
Infiniti,
Deakin,
Echo & the Bunnymen,
Suicide,
Black Flag,
Sandy B,
Letta Mbulu,
Moebius,
Scan 7,
Arcadia,
Bootsy Collins,
Pere Ubu,
The Smoke,
New York Dolls,
Yellowson,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.