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 Ukraine and from Toronto.
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 1977.
I'm losing my edge.
To all the kids in Glasgow and Tehran.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the harpsichord 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 Eurythmics to the crunk 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 The Tremeloes. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Donald Byrd record on German import.
I heard that you have a white label of every seminal grunge 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 a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your güiro and bought a sitar.
I hear that you and your band have sold your sitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
Fifty Foot Hose,
Todd Rundgren,
Hashim,
Bobbi Humphrey,
UT,
Grandmaster Flash,
New Age Steppers,
Rosa Yemen,
Warsaw,
Bang on a Can All-Stars,
Saccharine Trust,
The Martian,
Peter & Gordon,
New York Dolls,
Man Eating Sloth,
Janne Schatter,
Laurel Aitken,
Popol Vuh,
Dead Boys,
Thinking Fellers Union Local 282,
Sonny Sharrock,
Henry Cow,
Delta 5,
Funkadelic,
The Knickerbockers,
Sarah Menescal,
EPMD,
Rotary Connection,
Bronski Beat,
Nation of Ulysses,
Kenny Larkin,
Glenn Branca,
The Sonics,
The Pop Group,
Parry Music,
Chris & Cosey,
Wings,
The Raincoats,
The Count Five,
Robert Hood,
Jesper Dahlbäck,
Arcadia,
Michelle Simonal,
The Modern Lovers,
Big Daddy Kane,
Supertramp,
Urselle,
Lalo Schifrin,
Maleditus Sound,
Excepter,
T.S.O.L.,
The Names,
Juan Atkins,
Electric Light Orchestra,
Chrome,
Loose Ends,
Jesper Dahlback,
Lyres,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.