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 Saudi Arabia and from Seoul.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Salvador and Milan.
I'm losing my edge to the art-school Beijing 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 David Bowie 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 Standells to the grime kids.
I played it at Trash.
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 Sonic Youth. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Gabor Szabo 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Piero Umiliani,
Bizarre Inc.,
Letta Mbulu,
Electric Prunes,
Rufus Thomas,
The Birthday Party,
Jerry's Kids,
Vaughan Mason & Crew,
Das Ding,
The Smiths,
Masters at Work,
Idris Muhammad,
Joy Division,
Sun Ra Arkestra,
Y Pants,
Avey Tare,
Cybotron,
Parry Music,
Rites of Spring,
Throbbing Gristle,
Wolf Eyes,
Cecil Taylor,
Gastr Del Sol,
Arcadia,
Alphaville,
A Flock of Seagulls,
John Foxx,
a-ha,
Radiohead,
Mary Jane Girls,
Art Ensemble Of Chicago,
Major Organ And The Adding Machine,
Derrick May,
China Crisis,
The Happenings,
The Residents,
The Motions,
The Pretty Things,
Johnny Osbourne,
Flash Fearless,
Ralphi Rosario,
Joe Smooth,
Mission of Burma,
Deadbeat,
Yaz,
Heavy D & The Boyz,
Tom Boy,
Bill Near,
Boogie Down Productions,
Clear Light,
Whodini,
Terror Squad Feat. Camron,
Bush Tetras,
The Techniques,
Heaven 17,
Bluetip,
Gichy Dan,
Siglo XX,
Sad Lovers and Giants,
Mandrill,
Gregory Isaacs,
Crime, Crime, Crime, Crime.
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.