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 Brunei and from Manchester.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Woodstock.
I'm losing my edge to the art-school New York 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 organ sounds with much patience.
I was there when Donald Fagen 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 Ornette Coleman to the grunge 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 The Pretty Things. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Essential Logic 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Neu! record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Echospace,
David McCallum,
Kerri Chandler,
Moby Grape,
Bootsy Collins,
Aswad,
Roxette,
The Mighty Diamonds,
A Flock of Seagulls,
Warren Ellis,
The Sisters of Mercy,
The Music Machine,
Marshall Jefferson,
Lightning Bolt,
Hashim,
Pet Shop Boys,
Rod Modell,
MDC,
Selector Dub Narcotic,
Deadbeat,
Heaven 17,
Warsaw,
Ultimate Spinach,
Young Marble Giants,
Alice Coltrane,
Fugazi,
Model 500,
The Walker Brothers,
World's Most,
Colin Newman,
This Heat,
Alison Limerick,
Nation of Ulysses,
Electric Light Orchestra,
Bobbi Humphrey,
The Golliwogs,
The Royal Family And The Poor,
Janne Schatter,
the Bar-Kays,
The Associates,
X-101,
Aural Exciters,
Kurtis Blow,
The Slackers,
Roy Ayers Ubiquity,
Hardrive,
Parry Music,
Scion,
Negative Approach,
The Remains,
The Victims,
Zapp,
Visage,
The Doors,
The Names,
Be Bop Deluxe,
Orchestral Manoeuvres in the Dark,
Newcleus,
June of 44,
Jeff Mills,
Isaac Hayes,
Drexciya, Drexciya, Drexciya, Drexciya.
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.