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 Burkina and from Paris.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Taipei and Edmonton.
I'm losing my edge to the art-school Lagos 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 1984 at the first Arcadia practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Ultra Naté to the punk kids.
I played it at the Troubador.
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 Skarface. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every The Durutti Column record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalo Schifrin,
Second Layer,
Nation of Ulysses,
It's A Beautiful Day,
Jawbox,
Thinking Fellers Union Local 282,
Warsaw,
Crispian St. Peters,
Underground Resistance,
Tomorrow,
Thee Headcoats,
Black Bananas,
Jeru the Damaja,
Zapp,
The Seeds,
Gastr Del Sol,
Y Pants,
Oppenheimer Analysis,
Delon & Dalcan,
Kaleidoscope,
Fad Gadget,
Red Lorry Yellow Lorry,
Sun Ra Arkestra,
Robert Görl,
The Gun Club,
Dave Gahan,
Vaughan Mason & Crew,
This Heat,
Gang Gang Dance,
Lucky Dragons,
B.T. Express,
Louis and Bebe Barron,
Glenn Branca,
The Cowsills,
Alphaville,
Alison Limerick,
Andrew Hill,
The Associates,
The Pop Group,
The J.B.'s,
EPMD,
Anthony Braxton,
Siouxsie and the Banshees,
Electric Light Orchestra,
Don Cherry,
The Tremeloes,
Hardrive,
These Immortal Souls,
Technova,
Roy Ayers,
The Royal Family And The Poor,
Faust,
a-ha,
Graham Central Station,
Bobby Byrd,
Sun Ra,
Pharaoh Sanders and the Fire Engines,
The Flesh Eaters,
Lyres,
Be Bop Deluxe,
Max Romeo,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.