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 Samoa and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1979.
I'm losing my edge.
To all the kids in Glasgow and Philadelphia.
I'm losing my edge to the art-school Edmonton 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 Michael McDonald 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 The Mummies to the grime 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 Avey Tare & Kría Brekkan. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Curtis Mayfield,
London Community Gospel Choir,
Gichy Dan,
Procol Harum,
Joe Smooth,
Isaac Hayes,
Jacob Miller,
Nick Cave & The Bad Seeds,
Lizzy Mercier Descloux,
Orchestral Manoeuvres in the Dark,
Barclay James Harvest,
Skarface,
Soft Machine,
Accadde A,
Barrington Levy,
Swans,
James White and The Blacks,
The Misunderstood,
Gang Green,
Amon Düül II,
The Barracudas,
The Knickerbockers,
Donny Hathaway,
Dorothy Ashby,
Mad Mike,
Black Bananas,
ABBA,
Sly & The Family Stone,
The Last Poets,
FM Einheit,
Bizarre Inc.,
Ten City,
Mandrill,
Alison Limerick,
Index,
Boogie Down Productions,
Soul Sonic Force,
Peter Gordon & Love of Life Orchestra,
Rites of Spring,
Robert Wyatt,
CMW,
Sad Lovers and Giants,
Derrick Morgan,
Pagans,
Joensuu 1685,
Oneida,
Michelle Simonal,
The Blues Magoos,
Unrelated Segments,
Hardrive,
Public Image Ltd.,
Stiv Bators,
Gregory Isaacs,
Teenage Jesus and the Jerks,
Brand Nubian,
Animal Collective,
Simply Red,
Marshall Jefferson,
The Smiths,
Second Layer,
Technova, Technova, Technova, Technova.
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.