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 Uganda and from Madrid.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1975.
I'm losing my edge.
To all the kids in Manila and Paris.
I'm losing my edge to the art-school Madrid 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 theremin 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 Jeff Mills to the funk kids.
I played it at the 40 Watt.
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 Kauko Röyhkä ja Narttu. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Joyce Sims 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Kurtis Blow,
John Cale,
Easy Going,
Los Fastidios,
Blancmange,
Bootsy's Rubber Band,
The Names,
Alphaville,
Arthur Verocai,
T.S.O.L.,
Oppenheimer Analysis,
The Zeros,
Pet Shop Boys,
48th St. Collective,
Boogie Down Productions,
Juan Atkins,
Section 25,
Newcleus,
Carl Craig,
The Chocolate Watch Band,
Soul II Soul,
Harmonia,
The Slackers,
Morten Harket,
Rhythm & Sound,
Eve St. Jones,
Mark Hollis,
The Seeds,
Urselle,
Scott Walker + Sunn O))),
The American Breed,
Blake Baxter,
Japan,
The Detroit Cobras,
DeepChord presents Echospace,
Altered Images,
Sunsets and Hearts,
Trumans Water,
Pagans,
Shoche,
Heavy D & The Boyz,
Barry Ungar,
Johnny Osbourne,
Camberwell Now,
The Five Americans,
The Fortunes,
X-101,
The Cosmic Jokers,
a-ha,
Cecil Taylor,
Steve Hackett,
Cheater Slicks,
Drive Like Jehu,
Bobby Hutcherson,
Scientists,
Parry Music,
Dark Day,
Saccharine Trust,
Moby Grape,
Strawberry Alarm Clock,
Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids, Richard Hell and the Voidoids.
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.