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 Yemen and from Seoul.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Glasgow.
I'm losing my edge to the art-school Stockholm 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 Can practice in a loft in Cologne.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 A Certain Ratio to the grime kids.
I played it at the Troubador.
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 Thinking Fellers Union Local 282. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
Lindisfarne,
Bluetip,
the Bar-Kays,
Siglo XX,
Marcia Griffiths,
The Human League,
Scion,
Davy DMX,
Liliput,
Soft Machine,
The Shadows of Knight,
Talk Talk,
Gichy Dan,
Connie Case,
Electric Light Orchestra,
Vaughan Mason & Crew,
The United States of America,
Smog,
Jimmy McGriff,
Amon Düül,
PIL,
Röyhkä ja Rättö ja Lehtisalo,
Leonard Cohen,
Pierre Henry,
Joy Division,
Faraquet,
FM Einheit,
Nirvana,
John Lydon,
Jacob Miller,
Jesper Dahlbäck,
Cybotron,
Fluxion,
Tommy Roe,
Al Stewart,
Negative Approach,
Fugazi,
Rhythm & Sound,
Bobby Byrd,
Danielle Patucci,
La Düsseldorf,
Gang Green,
Icehouse,
The Slackers,
Rowland S Howard / Lydia Lunch,
Arcadia,
The Blackbyrds,
The Victims,
Graham Central Station,
Boogie Down Productions,
Guru Guru,
Bang On A Can,
The Gap Band,
The Busters,
the Normal,
China Crisis,
Teenage Jesus and the Jerks,
Be Bop Deluxe,
The Golliwogs,
Dead Boys,
The Move,
X-Ray Spex,
Sun City Girls,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.