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 Dominican Republic and from Lyon.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Calgary.
I'm losing my edge to the art-school Stockholm 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 güiro 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 Traffic Nightmare to the grime kids.
I played it at the Astoria.
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 AZ. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Terrestrial Tones 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 '80s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
The Sonics,
Deutsch Amerikanische Freundschaft,
The Seeds,
Das Ding,
Ken Boothe,
The American Breed,
Erasure,
Röyhkä ja Rättö ja Lehtisalo,
Rapeman,
Rites of Spring,
Make Up,
Niagra,
Echospace,
The Motions,
EPMD,
Clear Light,
The Litter,
Pole,
Metal Thangz,
Amazonics,
Second Layer,
Barclay James Harvest,
Scott Walker,
Scientists,
Heavy D & The Boyz,
Outsiders,
Kerri Chandler,
Soul II Soul,
Hardrive,
Brothers Johnson,
Basic Channel,
a-ha,
Fat Boys,
Adolescents,
Alphaville,
Talk Talk,
Don Cherry,
Cluster,
Drexciya,
Altered Images,
The Young Rascals,
Thee Headcoats,
Animal Collective,
Fort Wilson Riot,
Television Personalities,
Wire,
UT,
Avey Tare's Slasher Flicks,
Ludus,
Peter & Gordon,
The Men They Couldn't Hang,
Gong,
Minny Pops,
Barbara Tucker,
Rosa Yemen,
Aswad,
Harry Pussy,
Jeff Mills,
Scion,
Bang on a Can All-Stars,
Groovy Waters,
Negative Approach,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.