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 Algeria and from Milan.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Accra and Houston.
I'm losing my edge to the art-school Mumbai 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 marimba 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 Mars to the crunk 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 Con Funk Shun. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Das Ding 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 '60s cut and another box set from the '80s.
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 Pylon record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Moss Icon,
Scrapy,
Josef K,
Television,
Major Organ And The Adding Machine,
Ultramagnetic MC's,
Camouflage,
Ituana,
Soul Sonic Force,
Fort Wilson Riot,
Nation of Ulysses,
Ultra Naté,
Whodini,
Captain Beefheart & His Magic Band,
Harry Pussy,
The Angels of Light,
FM Einheit,
Idris Muhammad,
John Lydon,
Juan Atkins,
The Mummies,
Sex Pistols,
Tomorrow,
Accadde A,
the Slits,
Glambeats Corp.,
Jesper Dahlbäck,
Bronski Beat,
Q65,
Kas Product,
The Music Machine,
Aloha Tigers,
Goldenarms,
Henry Cow,
Nico,
Delta 5,
The Black Dice,
Dual Sessions,
The Moleskins,
Sugar Minott,
Magma,
MDC,
Minnie Riperton,
The West Coast Pop Art Experimental Band,
Rowland S Howard / Lydia Lunch,
Inner City,
Don Cherry,
Delon & Dalcan,
Bluetip,
China Crisis,
Skriet,
Cymande,
Yazoo,
Cameo,
Wolf Eyes,
Scion,
Sunsets and Hearts,
Jacques Brel,
The Gap Band,
The Real Kids, The Real Kids, The Real Kids, The Real Kids.
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.