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 Papua New Guinea and from Glasgow.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Edmonton and Lagos.
I'm losing my edge to the art-school Cairo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the linndrum 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 Sugar Minott to the dance 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 Idris Muhammad. All the underground hits.
All Camouflage tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal punk 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 sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Slick Rick,
Clear Light,
Quantec,
Cecil Taylor,
the Sonics,
Eden Ahbez,
The Fuzztones,
Brass Construction,
Underground Resistance,
The Electric Prunes,
Ornette Coleman,
Audionom,
Fear,
Visage,
Scientists,
The Modern Lovers,
Sarah Menescal,
The J.B.'s,
Sixth Finger,
Ken Boothe,
The Evens,
E-Dancer,
Nick Cave & The Bad Seeds,
Flash Fearless,
Roxette,
Eric Dolphy,
Isaac Hayes,
X-101,
Ohio Players,
Nick Fraelich,
Neil Young & Crazy Horse,
DeepChord presents Echospace,
These Immortal Souls,
Marc Romboy vs. Booka Shade,
Saccharine Trust,
Jesper Dahlbäck,
Johnny Clarke,
Gil Scott-Heron and Jamie xx,
The Young Rascals,
B.T. Express,
Black Bananas,
Main Source,
DNA,
Derrick Morgan,
Josef K,
The Seeds,
The Wake,
Index,
The Fugs,
Black Moon,
Banda Bassotti,
Todd Terry,
Kauko Röyhkä ja Narttu,
Amon Düül,
Das Ding,
Erasure,
Massinfluence,
Mantronix,
Alison Limerick,
Art Ensemble Of Chicago,
Guru Guru, Guru Guru, Guru Guru, Guru Guru.
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.