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 Switzerland and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Beijing.
I'm losing my edge to the art-school Salvador 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 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 Black Sheep to the techno kids.
I played it at the Roxy.
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 AZ. All the underground hits.
All Masta Ace, Craig G, Kool G Rap, Big Daddy Kane tracks. I heard you have a vinyl of every Scrapy 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 '70s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
Minor Threat,
Loose Ends,
Kevin Saunderson,
Echo & the Bunnymen,
The Names,
Yellowson,
Gian Franco Pienzio,
Maurizio,
Lower 48,
Brick,
Stockholm Monsters,
E-Dancer,
Janne Schatter,
The Cramps,
Slave,
Lou Reed & Metallica,
Yusef Lateef,
Camouflage,
Public Image Ltd.,
Symarip,
Don Cherry,
Sandy B,
A Certain Ratio,
Kool G Rap & DJ Polo,
Faraquet,
Dead Boys,
Ken Boothe,
Scratch Acid,
Rufus Thomas,
Cabaret Voltaire,
B.T. Express,
Motorama,
Mary Jane Girls,
Fad Gadget,
Smog,
Q65,
Niagra,
Intrusion,
Con Funk Shun,
The United States of America,
Depeche Mode,
The Grass Roots,
Deutsch Amerikanische Freundschaft,
The Vogues,
Bob Dylan,
Colin Newman,
Angry Samoans,
Neu!,
David Axelrod,
Donald Byrd,
Bad Manners,
Harmonia,
Althea and Donna,
Junior Murvin,
John Cale,
Parry Music,
Nirvana,
Aloha Tigers,
The Golliwogs,
Ronnie Foster,
The Fortunes,
Ten City, Ten City, Ten City, Ten City.
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.