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 Montenegro 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 1966 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Portland.
I'm losing my edge to the art-school Bologna 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the snare 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 Man Parrish to the grime 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 Section 25. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Nirvana record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson 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?
The Real Kids,
Faraquet,
Surgeon,
Derrick May,
Agitation Free,
Ken Boothe,
Siouxsie and the Banshees,
Chris Corsano,
Shoche,
Wire,
U.S. Maple,
Matthew Halsall,
The Slackers,
Sight & Sound,
The Gladiators,
The Fortunes,
Echospace,
The Walker Brothers,
Das Ding,
Spoonie Gee,
Ten City,
Alphaville,
Second Layer,
Dr. Dre and Snoop Doggy Dog,
Masters at Work,
Kevin Saunderson,
Soul Sonic Force,
Bobby Byrd,
Maleditus Sound,
Ronnie Foster,
Sun City Girls,
Captain Beefheart & His Magic Band,
Radio Birdman,
Boogie Down Productions,
Joey Negro,
Sällskapet,
Marc Romboy vs. Booka Shade,
Youth Brigade,
Wings,
Radiohead,
Sound Behaviour,
Eve St. Jones,
Bang On A Can,
Aloha Tigers,
The Sisters of Mercy,
Suburban Knight,
Adolescents,
Thee Headcoats,
Ajijia Myrayebe,
Gang Gang Dance,
Gang Starr,
Morten Harket,
Vaughan Mason & Crew,
MC5,
The Electric Prunes,
Soft Cell,
Index,
Alice Coltrane,
The New Christs,
Glenn Branca,
Marine Girls,
Hoover,
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.