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 Madagascar and from Woodstock.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Lyon and Halifax.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 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 Oppenheimer Analysis to the crunk 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 Joey Negro. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Smog record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Echospace record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Last Poets,
Bauhaus,
Steve Hackett,
Erykah Badu,
The Electric Prunes,
Basic Channel,
Kango’s Stein Massive,
Ohio Players,
Depeche Mode,
John Cale,
Technova,
Soft Cell,
Theoretical Girls,
Minnie Riperton,
Fluxion,
Khruangbin,
Angry Samoans,
Terror Squad Feat. Camron,
The Walker Brothers,
Scott Walker,
KRS-One,
Be Bop Deluxe,
The Men They Couldn't Hang,
Dawn Penn,
Tomorrow,
The West Coast Pop Art Experimental Band,
Gichy Dan,
Don Cherry,
a-ha,
Big Daddy Kane,
Zapp,
Talk Talk,
Lou Christie,
T.S.O.L.,
A Certain Ratio,
Pharaoh Sanders and the Fire Engines,
Niagra,
Mantronix,
Johnny Clarke,
Nils Olav,
Wally Richardson,
Qualms,
Teenage Jesus and the Jerks,
Ronnie Foster,
Flipper,
Amazonics,
Darondo,
Hashim,
Anakelly,
Camouflage,
Charles Mingus,
Michelle Simonal,
Crispy Ambulance,
Deakin,
Yusef Lateef,
E-Dancer,
Boogie Down Productions,
Cymande,
Fat Boys,
Laurel Aitken,
Gary Puckett & The Union Gap,
Underground Resistance,
Lafayette Afro Rock Band,
Robert Hood,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.