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 Macedonia 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 1963 to 1970.
I'm losing my edge.
To all the kids in Spokane and Johannesburg.
I'm losing my edge to the art-school Glasgow 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 Barbara Tucker to the grunge 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 London Community Gospel Choir. All the underground hits.
All 8 Eyed Spy tracks. I heard you have a vinyl of every Alton Ellis 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
Drive Like Jehu,
Mission of Burma,
Curtis Mayfield,
Don Cherry,
Warren Ellis,
Cal Tjader,
Andrew Ashong & Theo Parrish,
Average White Band,
Kenny Larkin,
Iggy Pop,
Grandmaster Flash,
Robert Wyatt,
Ice-T,
JFA,
Reagan Youth,
Glenn Branca,
Little Man,
Slave,
Rites of Spring,
The Moleskins,
Gichy Dan,
Danielle Patucci,
Kool Moe Dee,
Fifty Foot Hose,
Severed Heads,
Michelle Simonal,
The Neon Judgement,
Sly & The Family Stone,
Louis and Bebe Barron,
Half Japanese,
Swans,
Harpers Bizarre,
Parry Music,
Delta 5,
Clear Light,
MDC,
Livin' Joy,
Gang Green,
Public Enemy,
Roxy Music,
the Slits,
the Bar-Kays,
These Immortal Souls,
Con Funk Shun,
Stereo Dub,
Fort Wilson Riot,
Barrington Levy,
The Durutti Column,
The Divine Comedy,
Toni Rubio,
Crime,
Buzzcocks,
Bizarre Inc.,
Tom Boy,
MC5,
Albert Ayler,
Rufus Thomas,
Juan Atkins,
The Remains,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.