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 Zimbabwe and from London.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Milan and Glasgow.
I'm losing my edge to the art-school Seoul 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 oboe 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 Notorious BIG live in Amsterdam to the crunk kids.
I played it at the Spitz.
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 Index. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Basic Channel 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Womack record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Selector Dub Narcotic,
Johnny Osbourne,
D'Angelo,
James Chance & The Contortions,
Sound Behaviour,
Public Enemy,
Reuben Wilson,
The Electric Prunes,
Malaria!,
Deutsch Amerikanische Freundschaft,
Quadrant,
Little Man,
Aaron Thompson,
E-Dancer,
Howard Jones,
Roxette,
FM Einheit,
The Trojans,
Teenage Jesus and the Jerks,
Rhythm & Sound,
Mark Hollis,
Todd Terry,
The American Breed,
Wolf Eyes,
Monolake,
Girls At Our Best!,
Black Bananas,
Kauko Röyhkä ja Narttu,
Jimmy McGriff,
Clear Light,
Matthew Halsall,
The Black Dice,
Scratch Acid,
U.S. Maple,
Duran Duran,
Oppenheimer Analysis,
Main Source,
Dave Gahan,
Amazonics,
Section 25,
The Doors,
Wire,
Sonic Youth,
Spandau Ballet,
Bobbi Humphrey,
Con Funk Shun,
Flash Fearless,
Mad Mike,
Yaz,
Boredoms,
Minny Pops,
The Invisible,
Agent Orange,
Bobby Hutcherson,
New Age Steppers,
Ken Boothe,
Soul II Soul,
Excepter,
Morten Harket,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.