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 Sierra Leone and from Lille.
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 1978.
I'm losing my edge.
To all the kids in Philadelphia and Beijing.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar 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 Dorothy Ashby 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 Rhythm & Sound. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every Piero Umiliani record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
The Durutti Column,
The Kinks,
Beasts of Bourbon,
Talk Talk,
Saccharine Trust,
Crash Course in Science,
Zero Boys,
Lyres,
Magazine,
Fat Boys,
The Knickerbockers,
Accadde A,
Alice Coltrane,
Zapp,
Derrick Morgan,
The Litter,
Quantec,
Marine Girls,
Roger Hodgson,
the Fania All-Stars,
The Beau Brummels,
Be Bop Deluxe,
The Vogues,
Moby Grape,
Bobbi Humphrey,
Avey Tare,
the Slits,
Ultra Naté,
Howard Jones,
The Peanut Butter Conspiracy,
MDC,
John Cale,
L. Decosne,
Rotary Connection,
Lindisfarne,
Quando Quango,
Letta Mbulu,
Josef K,
The Motions,
Avey Tare & Kría Brekkan,
Roy Ayers,
Gang Green,
Ronan,
Eurythmics,
Mary Jane Girls,
Minutemen,
Suicide,
Skriet,
Joey Negro,
Popol Vuh,
Depeche Mode,
Yusef Lateef,
Kerri Chandler,
Radiopuhelimet,
Soul II Soul,
The Angels of Light,
Quadrant,
New York Dolls,
Davy DMX,
Crispian St. Peters,
Fatback Band,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
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.