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 Houston.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school Hong Kong 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Trojans to the electroclash kids.
I played it at the Hacienda.
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 Symarip. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal jazz 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 an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
Barclay James Harvest,
Boredoms,
Kool G Rap & DJ Polo,
Unwound,
Marmalade,
Gil Scott-Heron and Jamie xx,
Mo-Dettes,
Wolf Eyes,
Country Joe & The Fish,
Rhythm & Sound,
Trumans Water,
Lee Hazlewood,
Oblivians,
The Count Five,
Television,
The Fugs,
Eli Mardock,
Lou Christie,
Ronnie Foster,
ABC,
Erasure,
Audionom,
Ken Boothe,
Selector Dub Narcotic,
Pierre Henry,
Rakim,
Reagan Youth,
Crash Course in Science,
Soft Machine,
Dave Gahan,
The Monks,
Goldenarms,
Spoonie Gee,
Agitation Free,
Supertramp,
Kurtis Blow,
The Toasters,
Marshall Jefferson,
Bang On A Can,
Electric Light Orchestra,
Nils Olav,
Johnny Clarke,
Ronan,
The Moleskins,
Nirvana,
Negative Approach,
Kenny Larkin,
8 Eyed Spy,
The Vogues,
Hot Snakes,
A Flock of Seagulls,
The Five Americans,
The Buckinghams,
Altered Images,
Dark Day,
The Sisters of Mercy,
New Age Steppers,
Echospace,
JFA,
The Chocolate Watch Band,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.