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 New Zealand and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Manchester.
I'm losing my edge to the art-school Manila 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Lee Hazlewood to the techno kids.
I played it at the 40 Watt.
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 Spoonie Gee. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Guru Guru record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
The Evens,
Eurythmics,
Eric Copeland,
Soft Machine,
La Düsseldorf,
Motorama,
Ultravox,
Barrington Levy,
Popol Vuh,
Fluxion,
PIL,
Kevin Saunderson,
The Alarm Clocks,
Tropical Tobacco,
Skaos,
Todd Rundgren,
Faust,
Rhythm & Sound,
David Bowie,
Lou Reed & Metallica,
The Trojans,
Dawn Penn,
Soft Cell,
Mars,
Ralphi Rosario,
Alison Limerick,
Ohio Players,
Groovy Waters,
Rekid,
Youth Brigade,
Boz Scaggs,
Boredoms,
Gastr Del Sol,
Scrapy,
Funky Four + One,
Dr. Dre and Snoop Doggy Dog,
Country Joe & The Fish,
Brand Nubian,
Gary Puckett & The Union Gap,
Derrick May,
Sun Ra Arkestra,
Moby Grape,
Fatback Band,
Gang Green,
Monolake,
Oppenheimer Analysis,
Procol Harum,
Howard Jones,
Sparks,
Blancmange,
Theoretical Girls,
Technova,
Ken Boothe,
Roxy Music,
The Shadows of Knight,
Colin Newman,
Kerri Chandler,
KRS-One,
the Swans,
Jerry's Kids,
Unwound,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.