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 Saudi Arabia 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 1965 to 1979.
I'm losing my edge.
To all the kids in Houston and Mexico City.
I'm losing my edge to the art-school Woodstock 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the clarinet 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 The Doors to the crunk kids.
I played it at Cafe Wha.
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 Funkadelic. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every The Busters record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
The Modern Lovers,
Gabor Szabo,
Half Japanese,
Stiv Bators,
Sunsets and Hearts,
Shuggie Otis,
Unwound,
The Move,
Black Bananas,
Loose Ends,
Scrapy,
Kango’s Stein Massive,
Lower 48,
Robert Wyatt,
David Axelrod,
Byron Stingily,
Marc Romboy vs. Booka Shade,
Magazine,
The Pop Group,
Grandmaster Flash,
Ultravox,
Idris Muhammad,
The Cramps,
Pete Rock & C.L. Smooth,
The Standells,
Marshall Jefferson,
Yusef Lateef,
Robert Hood,
Mr. Review,
Pulsallama,
Index,
Man Parrish,
DJ Style,
MC5,
The Fortunes,
Justin Hinds & The Dominoes,
Cabaret Voltaire,
Faust,
Joyce Sims,
the Swans,
Bush Tetras,
Kauko Röyhkä ja Narttu,
Grey Daturas,
Aaron Thompson,
The Durutti Column,
Super Lover Cee & Casanova Rud,
The Smiths,
Erykah Badu,
Jeru the Damaja,
the Normal,
Charles Mingus,
Intrusion,
Johnny Clarke,
Tubeway Army,
L. Decosne,
Television Personalities,
The Human League,
Pylon,
Altered Images,
The Cosmic Jokers,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.