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 Cyprus and from Paris.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Beijing and Hong Kong.
I'm losing my edge to the art-school Glasgow 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the arpeggiator 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 cv313 to the grime 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 Bootsy Collins. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every Fluxion record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul Sonic Force,
Joyce Sims,
JFA,
Gastr Del Sol,
One Last Wish,
Spandau Ballet,
Roy Ayers,
Nils Olav,
Gerry Rafferty,
Television,
Interpol,
Slick Rick,
Intrusion,
Jeff Lynne,
Monolake,
Minor Threat,
Minny Pops,
Ultimate Spinach,
Steve Hackett,
The New Christs,
Pharaoh Sanders and the Fire Engines,
Reuben Wilson,
The Modern Lovers,
Saccharine Trust,
Al Stewart,
Crime,
Johnny Clarke,
Agent Orange,
The Mojo Men,
Freddie Wadling,
Kango’s Stein Massive,
Stetsasonic,
Kas Product,
Wire,
Crash Course in Science,
Blossom Toes,
Donald Byrd,
Bill Wells,
Hoover,
Lalo Schifrin,
The Music Machine,
Lucky Dragons,
Brothers Johnson,
Scientists,
Rhythm & Sound,
Second Layer,
a-ha,
London Community Gospel Choir,
Underground Resistance,
John Lydon,
Gabor Szabo,
Ohio Players,
X-102,
Goldenarms,
The Monochrome Set,
T.S.O.L.,
Dawn Penn,
The Doors,
June Days,
Section 25,
Bob Dylan,
Swell Maps,
Sandy B, Sandy B, Sandy B, Sandy B.
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.