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 Fiji and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Taipei and Winnipeg.
I'm losing my edge to the art-school Lille 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 organ sounds with much patience.
I was there when Tom Verlaine 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 Donald Byrd to the dance kids.
I played it at the Crocodile.
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 Public Enemy. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every The Misunderstood record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
The Fuzztones,
The New Christs,
Sly & The Family Stone,
Gil Scott-Heron and Jamie xx,
Ronnie Foster,
Heavy D & The Boyz,
The Dirtbombs,
Electric Prunes,
Hasil Adkins,
Country Teasers,
Niagra,
Thinking Fellers Union Local 282,
Grey Daturas,
Shuggie Otis,
Roxy Music,
Jeru the Damaja,
Camberwell Now,
Laurel Aitken,
The Slackers,
Sixth Finger,
The Divine Comedy,
A Certain Ratio,
Chris Corsano,
Joyce Sims,
Sparks,
Rosa Yemen,
Main Source,
Nation of Ulysses,
Lindisfarne,
Newcleus,
Rekid,
Avey Tare,
Brothers Johnson,
Animal Collective,
Technova,
The Buckinghams,
Avey Tare & Kría Brekkan,
The Fugs,
The Red Krayola,
Warsaw,
The Modern Lovers,
Blossom Toes,
Yazoo,
The Index,
Junior Murvin,
Boredoms,
Al Stewart,
Rotary Connection,
Magazine,
The Mojo Men,
Ash Ra Tempel,
Kerrie Biddell,
Danielle Patucci,
Morten Harket,
Angels of Light & Akron/Family,
Scrapy,
The United States of America,
Ultravox,
Whodini,
The Durutti Column,
D'Angelo,
Brass Construction,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.