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 Zambia and from Taipei.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Bremen.
I'm losing my edge to the art-school Manila 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 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 Deutsch Amerikanische Freundschaft to the disco kids.
I played it at Cafe Wha.
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 Scientists. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gong,
Avey Tare & Kría Brekkan,
Monks,
The Durutti Column,
Spoonie Gee,
Pantytec,
The Fall,
Angry Samoans,
Royal Trux,
Camouflage,
Neil Young,
The Trojans,
Minutemen,
The Slackers,
The Peanut Butter Conspiracy,
A Flock of Seagulls,
Fugazi,
Gang Gang Dance,
Kayak,
UT,
Thompson Twins,
Gregory Isaacs,
Tomorrow,
The Martian,
David Axelrod,
Flipper,
Kevin Saunderson,
Darondo,
Electric Prunes,
London Community Gospel Choir,
Joensuu 1685,
The Smoke,
Wings,
Yellowson,
Mark Hollis,
The Electric Prunes,
Fifty Foot Hose,
Soft Cell,
Niagra,
Vainqueur,
Hasil Adkins,
Don Cherry,
Joy Division,
The Smiths,
Charles Mingus,
Cymande,
Suburban Knight,
Kool G Rap & DJ Polo,
Glenn Branca,
Kas Product,
Tommy Roe,
The Gun Club,
Radio Birdman,
Sun Ra Arkestra,
Half Japanese,
Gian Franco Pienzio,
Pharoah Sanders,
Accadde A,
Talk Talk,
Das Ding,
Jawbox, Jawbox, Jawbox, Jawbox.
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.