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 Egypt and from Bremen.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Copenhagen.
I'm losing my edge to the art-school Lyon 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Association to the rap kids.
I played it at Trash.
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 Index. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
Au Pairs,
Andrew Ashong & Theo Parrish,
Monks,
Gil Scott-Heron and Jamie xx,
JFA,
Soulsonic Force,
The Searchers,
Sunsets and Hearts,
Can,
Das Ding,
Pantaleimon,
The American Breed,
Pole,
The Knickerbockers,
The Doobie Brothers,
Orchestral Manoeuvres in the Dark,
Cheater Slicks,
Subhumans,
The Motions,
Wally Richardson,
Soul Sonic Force,
Manfred Mann's Earth Band,
Hoover,
Notorious BIG live in Amsterdam,
Kango’s Stein Massive,
Metal Thangz,
Main Source,
Rekid,
Bootsy Collins,
Patti Smith,
Mad Mike,
Idris Muhammad,
The Blackbyrds,
Gary Puckett & The Union Gap,
Warsaw,
Nils Olav,
John Lydon,
the Association,
Public Image Ltd.,
Rosa Yemen,
Moss Icon,
Bobbi Humphrey,
Scott Walker,
Urselle,
Boredoms,
Stetsasonic,
Kas Product,
FM Einheit,
Lindisfarne,
Sun City Girls,
Bang On A Can,
Neil Young,
The Names,
Gil Scott-Heron & Brian Jackson,
The Alarm Clocks,
The Invisible,
Beasts of Bourbon,
The Leaves,
The Divine Comedy,
Rakim,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.