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 Azerbaijan and from Lagos.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Halifax and Edmonton.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Avey Tare & Kría Brekkan to the grime kids.
I played it at the Crocodile.
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 Josef K. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every The Seeds 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 '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
B.T. Express,
the Bar-Kays,
Marmalade,
It's A Beautiful Day,
Pharaoh Sanders and the Fire Engines,
Henry Cow,
Joyce Sims,
Dr. Dre and Snoop Doggy Dog,
T.S.O.L.,
Sight & Sound,
Gerry Rafferty,
Con Funk Shun,
Pole,
Piero Umiliani,
Stockholm Monsters,
Dual Sessions,
Bronski Beat,
Jeff Lynne,
The Leaves,
Roy Ayers Ubiquity,
Susan Cadogan,
Siouxsie and the Banshees,
Pet Shop Boys,
Roy Ayers,
Man Parrish,
The United States of America,
The Men They Couldn't Hang,
Donny Hathaway,
Moby Grape,
Jerry Gold Smith,
The Standells,
Terror Squad Feat. Camron,
Pulsallama,
Ash Ra Tempel,
the Soft Cell,
Camberwell Now,
Fifty Foot Hose,
Glenn Branca,
OOIOO,
Eyeless In Gaza,
Minor Threat,
Kurtis Blow,
X-Ray Spex,
Barrington Levy,
Kas Product,
The Fall,
The Shadows of Knight,
Y Pants,
Minnie Riperton,
Ken Boothe,
Ronnie Foster,
Rakim,
Deutsch Amerikanische Freundschaft,
JFA,
The Pretty Things,
Johnny Clarke,
Grey Daturas,
Stetsasonic,
Janne Schatter,
Sex Pistols,
Siglo XX,
Carl Craig, Carl Craig, Carl Craig, Carl Craig.
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.