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 Bahamas and from Philadelphia.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1974.
I'm losing my edge.
To all the kids in Stockholm and Philadelphia.
I'm losing my edge to the art-school Edmonton 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 synthesizer 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 Notorious Big And Bone Thugs to the rap kids.
I played it at the Hacienda.
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 Arcadia. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every Harpers Bizarre 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Bauhaus,
Rowland S Howard / Lydia Lunch,
Suburban Knight,
Icehouse,
The Victims,
Reagan Youth,
Avey Tare's Slasher Flicks,
Television Personalities,
Basic Channel,
Ajijia Myrayebe,
Mars,
Ten City,
Crime,
Symarip,
The Fire Engines,
Eurythmics,
Audionom,
Pulsallama,
The Dead C,
The Young Rascals,
David McCallum,
Half Japanese,
The Doobie Brothers,
The Fortunes,
Pagans,
Kango’s Stein Massive,
Cabaret Voltaire,
Panda Bear,
Nirvana,
Janne Schatter,
John Foxx,
Radiopuhelimet,
Lee Hazlewood,
Sonny Sharrock,
Jimmy McGriff,
Jawbox,
Morten Harket,
Juan Atkins,
Judy Mowatt,
Henry Cow,
Gil Scott-Heron & Brian Jackson,
Khruangbin,
This Heat,
the Slits,
E-Dancer,
Stereo Dub,
Warren Ellis,
The Human League,
Niagra,
Bobby Byrd,
The Velvet Underground,
Roy Ayers Ubiquity,
Arthur Verocai,
Second Layer,
B.T. Express,
Nick Fraelich,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Funkadelic,
The Martian,
The Kinks,
Marcia Griffiths,
the Association,
Delta 5, Delta 5, Delta 5, Delta 5.
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.