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 Suriname and from Sao Paulo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Delhi and Sao Paulo.
I'm losing my edge to the art-school Lagos 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 spring reverb 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 Anthony Braxton to the dance 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 Reagan Youth. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every Nation of Ulysses 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Frankie Knuckles,
Ponytail,
Lou Reed,
Eric Dolphy,
Eden Ahbez,
Rowland S Howard / Lydia Lunch,
Heavy D & The Boyz,
Minny Pops,
Kango’s Stein Massive,
Mandrill,
Half Japanese,
Zero Boys,
Brand Nubian,
Kerrie Biddell,
DJ Sneak,
Scientists,
London Community Gospel Choir,
Ronan,
Lou Reed & Metallica,
Gang Gang Dance,
Crime,
Babytalk,
La Düsseldorf,
a-ha,
Soft Machine,
Television,
the Association,
Pole,
The Motions,
Archie Shepp,
Saccharine Trust,
Louis and Bebe Barron,
Sugar Minott,
The Divine Comedy,
Gil Scott-Heron & Brian Jackson,
Bobbi Humphrey,
Khruangbin,
Slave,
Gary Puckett & The Union Gap,
The Cure,
James White and The Blacks,
Avey Tare,
Flipper,
Lizzy Mercier Descloux,
Tomorrow,
Todd Terry,
Eli Mardock,
Fugazi,
Subhumans,
Erasure,
Section 25,
Shuggie Otis,
MDC,
Ultravox,
Suicide,
The Stooges,
Sly & The Family Stone,
Eve St. Jones,
The Wake,
Justin Hinds & The Dominoes,
Byron Stingily,
Absolute Body Control,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.