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 Bolivia and from Lille.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1965 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Delhi.
I'm losing my edge to the art-school Toronto 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 mellotron 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 The Slackers to the rap kids.
I played it at the 40 Watt.
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 Slave. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
Mars,
Nation of Ulysses,
Carl Craig,
The Golliwogs,
Los Fastidios,
LL Cool J,
Loose Ends,
Yazoo,
Ludus,
Von Mondo,
Avey Tare,
Pole,
KRS-One,
Susan Cadogan,
Deakin,
Kaleidoscope,
Black Pus,
Skriet,
The Cowsills,
Lindisfarne,
Alison Limerick,
Glambeats Corp.,
Black Moon,
Marc Almond,
Pere Ubu,
Eurythmics,
Angry Samoans,
Terrestrial Tones,
Urselle,
Morten Harket,
Infiniti,
The Tremeloes,
Scan 7,
The Remains,
Aloha Tigers,
The Divine Comedy,
The Victims,
The Moleskins,
Pete Rock & C.L. Smooth,
The Knickerbockers,
Dark Day,
Harmonia,
Mandrill,
Alice Coltrane,
It's A Beautiful Day,
Thee Headcoats,
Severed Heads,
Minutemen,
Lizzy Mercier Descloux,
UT,
Freddie Wadling,
Hasil Adkins,
the Bar-Kays,
Notorious BIG live in Amsterdam,
New Age Steppers,
Magazine,
EPMD,
June of 44,
Thompson Twins,
Nas,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.