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 Tuvalu and from London.
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 1979.
I'm losing my edge.
To all the kids in Bremen and Madrid.
I'm losing my edge to the art-school Madrid 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 U.S. Maple to the techno 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 Kenny Larkin. All the underground hits.
All N.O.R.E. Featuring Pharrell tracks. I heard you have a vinyl of every Surgeon 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Mark Hollis,
Kool G Rap & DJ Polo,
Television,
Pete Rock & C.L. Smooth,
Throbbing Gristle,
Deakin,
The Gun Club,
Lindisfarne,
Major Organ And The Adding Machine,
The Fall,
Silicon Teens,
Maleditus Sound,
Glambeats Corp.,
Bush Tetras,
Massinfluence,
Main Source,
Connie Case,
Matthew Bourne,
Unwound,
Bill Near,
London Community Gospel Choir,
Sugar Minott,
Desert Stars,
Avey Tare & Kría Brekkan,
Pantaleimon,
Tommy Roe,
Red Lorry Yellow Lorry,
Cabaret Voltaire,
Joey Negro,
Minutemen,
Aswad,
The Flesh Eaters,
Yusef Lateef,
Outsiders,
Todd Rundgren,
Thinking Fellers Union Local 282,
Babytalk,
Leonard Cohen,
The Dave Clark Five,
Roxy Music,
Marmalade,
Blossom Toes,
Kas Product,
Prince Buster,
Peter Gordon & Love of Life Orchestra,
Guru Guru,
Kerrie Biddell,
the Soft Cell,
The Grass Roots,
Wighnomy Brothers & Robag Wruhme,
New York Dolls,
Radiohead,
The Motions,
Todd Terry,
Q65,
Echospace,
John Lydon,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Public Enemy,
Procol Harum,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.