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 Finland and from Philadelphia.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Portland and Lille.
I'm losing my edge to the art-school Mumbai 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Sugar Minott to the dance kids.
I played it at the Roxy.
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 Lou Reed & Metallica. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every Scientists record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Human League record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Minny Pops,
Peter Gordon & Love of Life Orchestra,
The Offenders,
The Litter,
Maleditus Sound,
Basic Channel,
Zero Boys,
Susan Cadogan,
Arcadia,
Vainqueur,
Liliput,
The Jesus and Mary Chain,
Strawberry Alarm Clock,
Kayak,
James White and The Blacks,
Gabor Szabo,
Oppenheimer Analysis,
Rosa Yemen,
Brand Nubian,
The Dead C,
Robert Hood,
David McCallum,
John Foxx,
Pierre Henry,
Vaughan Mason & Crew,
Electric Prunes,
E-Dancer,
John Lydon,
Fluxion,
Alton Ellis,
The American Breed,
Das Ding,
The Grass Roots,
Eddi Front,
Unwound,
Joey Negro,
Rhythm & Sound,
Livin' Joy,
A Certain Ratio,
Archie Shepp,
Siouxsie and the Banshees,
Crime,
Frankie Knuckles,
Bluetip,
The Trojans,
Soft Machine,
June of 44,
The Gories,
Thinking Fellers Union Local 282,
The Dirtbombs,
Joe Finger,
Neu!,
Nik Kershaw,
Eric Copeland,
Freddie Wadling,
Lalann,
Smog,
Kango’s Stein Massive,
Chrome,
The Monks, The Monks, The Monks, The Monks.
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.