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 Italy and from Philadelphia.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
I'm losing my edge to the art-school Salvador 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 808 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 Hardrive to the rap 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 The Doobie Brothers. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every Goldenarms record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Black Pus,
the Association,
The Pretty Things,
Ornette Coleman,
Letta Mbulu,
The Chocolate Watch Band,
The Raincoats,
Blancmange,
Qualms,
The Dead C,
Robert Hood,
The Cosmic Jokers,
Junior Murvin,
Richard Hell and the Voidoids,
Gang Green,
Harmonia,
Swans,
MDC,
Alphaville,
Reagan Youth,
Derrick Morgan,
Brass Construction,
Funkadelic,
Stereo Dub,
Piero Umiliani,
Vladislav Delay,
Jacques Brel,
Vainqueur,
The Zeros,
Teenage Jesus and the Jerks,
Bobbi Humphrey,
Henry Cow,
cv313,
Wighnomy Brothers & Robag Wruhme,
Soulsonic Force,
Jimmy McGriff,
Fad Gadget,
Aswad,
the Sonics,
Sexual Harrassment,
Sun City Girls,
Manfred Mann's Earth Band,
Audionom,
Brand Nubian,
Model 500,
48th St. Collective,
Peter Gordon & Love of Life Orchestra,
New Age Steppers,
Ultramagnetic MC's,
Pole,
The Dirtbombs,
Sixth Finger,
The Gap Band,
Robert Görl,
Janne Schatter,
Subhumans,
The Dave Clark Five,
The New Christs,
Crash Course in Science,
The Monks, The Monks, The Monks, The Monks.
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.