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 Honduras and from Copenhagen.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Accra and Johannesburg.
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 synthesizer 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 June Days 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 Moss Icon. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Louis and Bebe Barron record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
The Smoke,
John Coltrane,
Jeru the Damaja,
Darondo,
Lindisfarne,
Gil Scott Heron,
Althea and Donna,
Public Image Ltd.,
Curtis Mayfield,
L. Decosne,
the Slits,
Glenn Branca,
The Mojo Men,
The Flesh Eaters,
The Electric Prunes,
Ajijia Myrayebe,
The Stooges,
Soulsonic Force,
Alphaville,
Sunsets and Hearts,
Charles Mingus,
Monolake,
Reuben Wilson,
Lakeside,
Joensuu 1685,
Surgeon,
Pharoah Sanders,
Rakim,
Terrestrial Tones,
Don Cherry,
Moebius,
Richard Hell and the Voidoids,
Kauko Röyhkä ja Narttu,
Popol Vuh,
Bob Dylan,
Fugazi,
Scientists,
The Kinks,
Vladislav Delay,
Bill Wells,
The Music Machine,
Ten City,
Archie Shepp,
Peter Gordon & Love of Life Orchestra,
Nirvana,
Dead Boys,
Sad Lovers and Giants,
Sonic Youth,
World's Most,
Procol Harum,
the Association,
Henry Cow,
Excepter,
Ralphi Rosario,
Josef K,
Khruangbin,
The Dirtbombs,
Minny Pops,
Blancmange,
John Holt,
Average White Band,
Alton Ellis,
Stetsasonic,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.