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 Slovakia and from Halifax.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Calgary and Johannesburg.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the organ sounds with much patience.
I was there when Tom Verlaine 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 Scan 7 to the electroclash kids.
I played it at the Crocodile.
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 Man Parrish. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Joey Negro 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
Bauhaus,
Ken Boothe,
World's Most,
DeepChord presents Echospace,
Fela Kuti,
Kaleidoscope,
Khruangbin,
Ralphi Rosario,
Red Lorry Yellow Lorry,
The West Coast Pop Art Experimental Band,
KRS-One,
Hardrive,
Reuben Wilson,
Tom Boy,
Pussy Galore,
Simply Red,
The Gun Club,
Joe Finger,
Deadbeat,
The Beau Brummels,
David Bowie,
PIL,
Grandmaster Flash and the Furious Five,
The Toasters,
Albert Ayler,
Blancmange,
New Order,
The Misunderstood,
Andrew Hill,
Gil Scott Heron,
Ronan,
Teenage Jesus and the Jerks,
K-Klass,
The Men They Couldn't Hang,
Angry Samoans,
Siglo XX,
Spandau Ballet,
Pete Rock & C.L. Smooth,
Technova,
Black Bananas,
Cecil Taylor,
The Fall,
Organ,
Surgeon,
The Zeros,
Tim Buckley,
Letta Mbulu,
Deepchord,
Marcia Griffiths,
Major Organ And The Adding Machine,
Brick,
Moebius,
Johnny Osbourne,
Sparks,
Severed Heads,
Man Parrish,
Bluetip,
the Fania All-Stars,
The Busters,
Visionaries,LMNO, T- Love & Iriscience,
Kool G Rap & DJ Polo,
Sexual Harrassment,
Howard Jones,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.