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 Senegal and from Spokane.
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 1979.
I'm losing my edge.
To all the kids in Mexico City and Lyon.
I'm losing my edge to the art-school Tokyo 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 mellotron 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 Marc Almond to the dance kids.
I played it at the Spitz.
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 Public Enemy. All the underground hits.
All Pole tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Pete Rock & C.L. Smooth,
Rhythm & Sound,
Piero Umiliani,
Fela Kuti,
Gabor Szabo,
Barclay James Harvest,
Kerrie Biddell,
Rotary Connection,
The Fuzztones,
Toni Rubio,
U.S. Maple,
The Dirtbombs,
Minnie Riperton,
Selector Dub Narcotic,
Joensuu 1685,
Rapeman,
Todd Terry,
Charles Mingus,
Red Lorry Yellow Lorry,
Tomorrow,
The Leaves,
The Gories,
Alison Limerick,
Q65,
ABC,
DJ Style,
Rufus Thomas,
Wire,
Pierre Henry,
Yazoo,
Maleditus Sound,
The Doobie Brothers,
48th St. Collective,
The Raincoats,
Ash Ra Tempel,
Black Moon,
Smog,
Lindisfarne,
Cluster,
Liliput,
The Seeds,
Unrelated Segments,
Rites of Spring,
Cheater Slicks,
Electric Prunes,
Skarface,
Amon Düül,
Lakeside,
Warsaw,
the Soft Cell,
Animal Collective,
Neil Young & Crazy Horse,
Pussy Galore,
E-Dancer,
Franke,
Q and Not U,
Kool G Rap & DJ Polo,
a-ha,
Moss Icon,
The Music Machine,
Crime,
Ultimate Spinach,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.