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 Venezuela and from Seoul.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1974.
I'm losing my edge.
To all the kids in Salvador and Beijing.
I'm losing my edge to the art-school Stockholm 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 harpsichord 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 Jerry's Kids to the electroclash 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 Ituana. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Rufus Thomas,
T. Rex,
Letta Mbulu,
Jimmy McGriff,
Audionom,
Drive Like Jehu,
Bobby Womack,
The West Coast Pop Art Experimental Band,
Sunsets and Hearts,
Masters at Work,
Mantronix,
Robert Görl,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Albert Ayler,
Make Up,
The Skatalites,
MC5,
The Busters,
Shoche,
Pet Shop Boys,
A Certain Ratio,
Arthur Verocai,
Crispy Ambulance,
New Age Steppers,
The Evens,
Q and Not U,
Reuben Wilson,
Sad Lovers and Giants,
Lonnie Liston Smith,
PIL,
Ohio Players,
The Doobie Brothers,
Leonard Cohen,
Red Lorry Yellow Lorry,
Harpers Bizarre,
The Alarm Clocks,
F. McDonald,
Ten City,
Drexciya,
Cameo,
Public Enemy,
8 Eyed Spy,
The Flesh Eaters,
DNA,
Althea and Donna,
Kaleidoscope,
The Durutti Column,
Skriet,
Section 25,
Donny Hathaway,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Circle Jerks,
Kas Product,
Zapp,
Harry Pussy,
Idris Muhammad,
Peter and Kerry,
Lizzy Mercier Descloux,
Derrick May, Derrick May, Derrick May, Derrick May.
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.