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 Bulgaria and from Lagos.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Spokane and Bologna.
I'm losing my edge to the art-school Jakarta 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 F. McDonald 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 Neil Young & Crazy Horse. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Angels of Light 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?
Erasure,
Chris & Cosey,
Oneida,
Pagans,
The Seeds,
Gil Scott-Heron & Brian Jackson,
James White and The Blacks,
Marc Romboy vs. Booka Shade,
Infiniti,
Nas,
Deutsch Amerikanische Freundschaft,
Agitation Free,
Brass Construction,
Notorious Big And Bone Thugs,
Country Joe & The Fish,
The Skatalites,
Warsaw,
Crispian St. Peters,
The Fire Engines,
Kool G Rap & DJ Polo,
Bauhaus,
Parry Music,
Lindisfarne,
Livin' Joy,
James Chance & The Contortions,
Ronan,
Blossom Toes,
The Royal Family And The Poor,
Glambeats Corp.,
Major Organ And The Adding Machine,
These Immortal Souls,
Yellowson,
Bill Wells,
London Community Gospel Choir,
Deadbeat,
Thompson Twins,
The Electric Prunes,
The Shadows of Knight,
The Leaves,
Hasil Adkins,
Joe Finger,
Peter & Gordon,
Judy Mowatt,
The Cramps,
Joy Division,
Fad Gadget,
Whodini,
Sonic Youth,
Banda Bassotti,
Traffic Nightmare,
Lizzy Mercier Descloux,
Man Eating Sloth,
Accadde A,
The Grass Roots,
Avey Tare & Kría Brekkan,
Man Parrish,
Bobbi Humphrey,
Michelle Simonal,
Model 500,
Chris Corsano,
Colin Newman,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.