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 Qatar and from Stockholm.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Beijing and Portland.
I'm losing my edge to the art-school Spokane 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 snare 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 Pantaleimon to the crunk 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 Wighnomy Brothers & Robag Wruhme. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Maleditus Sound record on German import.
I heard that you have a white label of every seminal rock 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 an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lindisfarne,
Joey Negro,
Lebanon Hanover,
Audionom,
UT,
Bush Tetras,
Pole,
Justin Hinds & The Dominoes,
Slave,
Massinfluence,
Cecil Taylor,
Fort Wilson Riot,
Chris & Cosey,
Rekid,
Bill Near,
The Fuzztones,
Jacques Brel,
Alison Limerick,
The Victims,
Radio Birdman,
The Skatalites,
Sticky Fingaz feat. Raekwon,
Con Funk Shun,
Circle Jerks,
Lonnie Liston Smith,
Kurtis Blow,
Flamin' Groovies,
Second Layer,
Marc Romboy vs. Booka Shade,
Eli Mardock,
Wings,
La Düsseldorf,
X-Ray Spex,
Don Cherry,
New Order,
This Heat,
Gil Scott Heron,
Q and Not U,
The Durutti Column,
The Offenders,
ABC,
Fear,
Davy DMX,
The Sonics,
Cal Tjader,
Terrestrial Tones,
Television,
Brick,
Dead Boys,
Das Ding,
Aloha Tigers,
The Toasters,
Roy Ayers Ubiquity,
John Foxx,
Black Pus,
Bobby Hutcherson,
Brass Construction,
The Star Department,
Skarface,
Excepter, Excepter, Excepter, Excepter.
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.