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 Oman and from Spokane.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Halifax and New York.
I'm losing my edge to the art-school Mumbai 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 1978 at the first Visage practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 Khruangbin to the electroclash kids.
I played it at the Roxy.
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 Stetsasonic. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every Ossler record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Joensuu 1685 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?
Sister Nancy,
The Fuzztones,
a-ha,
Black Pus,
Gang Green,
The Barracudas,
The Index,
Oppenheimer Analysis,
Scratch Acid,
Metal Thangz,
Animal Collective,
Grandmaster Flash and the Furious Five,
Ponytail,
Banda Bassotti,
Can,
Barclay James Harvest,
Swell Maps,
The Modern Lovers,
Scott Walker,
Kaleidoscope,
Johnny Clarke,
Pantytec,
Danielle Patucci,
Nation of Ulysses,
Ronnie Foster,
The Move,
Big Daddy Kane,
The Offenders,
Audionom,
Brand Nubian,
Tomorrow,
Sight & Sound,
Avey Tare's Slasher Flicks,
Skriet,
Scan 7,
Pete Rock & C.L. Smooth,
Alphaville,
PIL,
Fugazi,
Negative Approach,
Gichy Dan,
Iggy Pop,
Jandek,
Absolute Body Control,
Tom Boy,
Man Parrish,
Mark Hollis,
Mo-Dettes,
Moebius,
Au Pairs,
Deadbeat,
Flash Fearless,
June Days,
Dual Sessions,
The Peanut Butter Conspiracy,
Scientists,
A Flock of Seagulls,
The Kinks,
John Holt,
Hasil Adkins,
Gil Scott Heron,
Minny Pops,
Derrick Morgan,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.