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 Sweden and from Winnipeg.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 Paris and Mexico City.
I'm losing my edge to the art-school Winnipeg 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 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 Kurtis Blow to the techno kids.
I played it at Trash.
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 Marcia Griffiths. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Popol Vuh record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
The Blues Magoos,
Lindisfarne,
Rhythm & Sound,
Matthew Bourne,
Motorama,
KRS-One,
Jerry's Kids,
Big Daddy Kane,
Minny Pops,
Ultimate Spinach,
Pussy Galore,
Bill Wells,
David McCallum,
Sandy B,
Hasil Adkins,
Bobby Hutcherson,
MC5,
Piero Umiliani,
Thinking Fellers Union Local 282,
Crispy Ambulance,
Fela Kuti,
Marcia Griffiths,
Ajijia Myrayebe,
DeepChord presents Echospace,
Pylon,
Gregory Isaacs,
Eric Copeland,
Erasure,
Robert Görl,
Panda Bear,
David Bowie,
Heavy D & The Boyz,
X-102,
The Pop Group,
Delta 5,
Black Pus,
The Standells,
the Association,
Gichy Dan,
Nils Olav,
Cymande,
the Soft Cell,
Ten City,
Deakin,
Pete Rock & C.L. Smooth,
Fluxion,
Cecil Taylor,
John Coltrane,
The Barracudas,
Albert Ayler,
The Moody Blues,
Kaleidoscope,
Laurel Aitken,
Super Lover Cee & Casanova Rud,
Scratch Acid,
Orchestral Manoeuvres in the Dark,
Brand Nubian,
Ronnie Foster,
Shoche,
Darondo,
the Slits,
Tomorrow,
Franke, Franke, Franke, Franke.
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.