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 Vietnam 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 1963 to 1975.
I'm losing my edge.
To all the kids in Manchester and Taipei.
I'm losing my edge to the art-school Tokyo 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 Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Kings Of Tomorrow to the crunk kids.
I played it at the Roxy.
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 Masters at Work. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal rap 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 sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Fela Kuti record.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
Lakeside,
Sun Ra,
The Busters,
The Names,
Metal Thangz,
Royal Trux,
Kevin Saunderson,
Scientists,
Laurel Aitken,
Be Bop Deluxe,
Archie Shepp,
Essential Logic,
The Count Five,
Rakim,
Mad Mike,
Fat Boys,
Rosa Yemen,
Rapeman,
Lucky Dragons,
Das Ding,
MDC,
Rites of Spring,
Marc Romboy vs. Booka Shade,
Neil Young & Crazy Horse,
The Slackers,
Rufus Thomas,
Fort Wilson Riot,
Young Marble Giants,
Albert Ayler,
Jeru the Damaja,
UT,
Big Daddy Kane,
Blake Baxter,
Moss Icon,
Peter & Gordon,
Chrome,
David McCallum,
Pole,
The Flesh Eaters,
Notorious BIG live in Amsterdam,
the Human League,
Ossler,
Schoolly D,
Shoche,
Sex Pistols,
Morten Harket,
The Slits,
Selector Dub Narcotic,
Grandmaster Flash,
Captain Beefheart & His Magic Band,
DeepChord presents Echospace,
Aswad,
Ralphi Rosario,
Moebius,
John Holt,
Aural Exciters,
Kauko Röyhkä ja Narttu,
Siglo XX,
Minnie Riperton,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.