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 Panama and from Lille.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1977.
I'm losing my edge.
To all the kids in Lyon and Jakarta.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the 808 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 Massinfluence 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 Rahsaan Roland Kirk. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a ABC record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wasted Youth,
Pharaoh Sanders and the Fire Engines,
The Chocolate Watch Band,
The Names,
Sonic Youth,
Y Pants,
MDC,
The West Coast Pop Art Experimental Band,
Young Marble Giants,
Mandrill,
The Sisters of Mercy,
Eden Ahbez,
Alton Ellis,
Brand Nubian,
Godley & Creme,
Andrew Hill,
Ituana,
Banda Bassotti,
Minutemen,
Yaz,
ABBA,
Gichy Dan,
Sad Lovers and Giants,
Oppenheimer Analysis,
The Count Five,
T.S.O.L.,
Scratch Acid,
Eric B and Rakim,
Stiv Bators,
Sugar Minott,
Terry Callier,
Depeche Mode,
Marine Girls,
Leonard Cohen,
Tres Demented,
Funky Four + One,
Groovy Waters,
Marvin Gaye,
Aural Exciters,
Pantytec,
Electric Prunes,
Todd Terry,
The Busters,
Derrick Morgan,
Camberwell Now,
Man Eating Sloth,
Roxy Music,
Bobby Womack,
Amon Düül,
Jeru the Damaja,
Danielle Patucci,
Visage,
The Seeds,
The Dirtbombs,
Swell Maps,
The Cramps,
Pierre Henry,
Arthur Verocai, Arthur Verocai, Arthur Verocai, Arthur Verocai.
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.