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 Tuvalu and from London.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Lyon and Woodstock.
I'm losing my edge to the art-school Delhi 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 Alarm Clocks to the electroclash kids.
I played it at the Hacienda.
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 Justin Hinds & The Dominoes. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Stooges record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
Piero Umiliani,
X-102,
PIL,
Talk Talk,
kango's stein massive,
Scott Walker + Sunn O))),
Echospace,
Gastr Del Sol,
Warsaw,
Bob Dylan,
The Detroit Cobras,
Quando Quango,
Notorious Big And Bone Thugs,
ABC,
Cybotron,
the Normal,
Pantaleimon,
Rakim,
Johnny Osbourne,
Blossom Toes,
Fluxion,
Minny Pops,
The Walker Brothers,
This Heat,
Blake Baxter,
Anthony Braxton,
Mandrill,
Gil Scott-Heron & Brian Jackson,
Buzzcocks,
The Five Americans,
Marcia Griffiths,
Don Cherry,
T.S.O.L.,
Albert Ayler,
Avey Tare,
Faust,
Make Up,
Metal Thangz,
Joy Division,
The Names,
The Gun Club,
Oblivians,
The Martian,
Drive Like Jehu,
Super Lover Cee & Casanova Rud,
Funkadelic,
Ultramagnetic MC's,
The Pretty Things,
Smog,
Spandau Ballet,
Deakin,
Hasil Adkins,
R.M.O.,
Quadrant,
Shuggie Otis,
Bang On A Can,
The Human League,
The Toasters,
Bush Tetras,
In Retrospect,
The Kinks,
Half Japanese,
Blancmange, Blancmange, Blancmange, Blancmange.
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.