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 Georgia and from Mumbai.
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 1975.
I'm losing my edge.
To all the kids in Bologna and Cairo.
I'm losing my edge to the art-school Delhi 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Alton Ellis to the disco kids.
I played it at the Troubador.
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 Eli Mardock. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Blancmange 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
the Slits,
The Litter,
Frankie Knuckles,
Hot Snakes,
Gil Scott Heron,
Terrestrial Tones,
Spoonie Gee,
Radiohead,
Loose Ends,
The Standells,
Leonard Cohen,
The Knickerbockers,
The Slits,
Bill Near,
Freddie Wadling,
A Flock of Seagulls,
Groovy Waters,
Little Man,
Arthur Verocai,
Tommy Roe,
Orchestral Manoeuvres in the Dark,
Heavy D & The Boyz,
Jerry's Kids,
Nirvana,
The Searchers,
Jeff Mills,
The Skatalites,
Ponytail,
Whodini,
Robert Wyatt,
Tropical Tobacco,
Country Teasers,
Piero Umiliani,
John Foxx,
Camberwell Now,
Joe Smooth,
Ken Boothe,
The Red Krayola,
10cc,
CMW,
Drexciya,
Rites of Spring,
The Monochrome Set,
The Associates,
Neil Young & Crazy Horse,
LL Cool J,
Skriet,
Oppenheimer Analysis,
Soft Machine,
Gregory Isaacs,
Dual Sessions,
The Black Dice,
Harpers Bizarre,
Lalo Schifrin,
Barrington Levy,
The Motions,
Avey Tare's Slasher Flicks,
Judy Mowatt,
Captain Beefheart & His Magic Band,
Jandek,
Eden Ahbez, Eden Ahbez, Eden Ahbez, Eden Ahbez.
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.