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 Turkmenistan and from Bologna.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Beijing and Manila.
I'm losing my edge to the art-school New York 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 Schoolly D to the jazz 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 Heaven 17. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every Rapeman record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Pharoah Sanders record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
Patti Smith,
Swans,
Ossler,
Joe Finger,
Lower 48,
Rotary Connection,
Freddie Wadling,
Ash Ra Tempel,
Captain Beefheart & His Magic Band,
Little Man,
Marmalade,
Albert Ayler,
Lizzy Mercier Descloux,
Sarah Menescal,
Echospace,
Peter & Gordon,
Bill Wells,
The Fuzztones,
Stetsasonic,
Youth Brigade,
Boz Scaggs,
Nik Kershaw,
The Young Rascals,
Joe Smooth,
Tears for Fears,
Man Parrish,
Radiohead,
The Vogues,
Fluxion,
Kool G Rap & DJ Polo,
Jawbox,
Liaisons Dangereuses,
Sparks,
Johnny Osbourne,
Tubeway Army,
Eddi Front,
Mo-Dettes,
Lalann,
Harpers Bizarre,
Rapeman,
Sex Pistols,
Ohio Players,
Todd Terry,
Roy Ayers Ubiquity,
Model 500,
Tom Boy,
The Techniques,
R.M.O.,
Eric B and Rakim,
Erasure,
Spoonie Gee,
Whodini,
The Golliwogs,
The Cosmic Jokers,
Röyhkä ja Rättö ja Lehtisalo,
Johnny Clarke,
The Barracudas,
Jesper Dahlbäck,
Dawn Penn,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.