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 Solomon Islands and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1967 to 1971.
I'm losing my edge.
To all the kids in New York and Houston.
I'm losing my edge to the art-school Portland 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 Zapp practice in a loft in Hamilton.
I was working on the arpeggiator 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 New Age Steppers to the jazz 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 Faraquet. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Kool Moe Dee 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 '90s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
The Jesus and Mary Chain,
Kool G Rap & DJ Polo,
Josef K,
Piero Umiliani,
Avey Tare & Kría Brekkan,
Desert Stars,
Cameo,
Newcleus,
Joy Division,
Sonny Sharrock,
Danielle Patucci,
Schoolly D,
The Evens,
Yusef Lateef,
The Young Rascals,
Bootsy's Rubber Band,
Masters at Work,
Magazine,
The Pop Group,
Bluetip,
Cluster,
Rapeman,
Sällskapet,
The Slits,
The Gap Band,
a-ha,
Subhumans,
This Heat,
The Residents,
Mr. Review,
China Crisis,
Lou Reed & John Cale,
Underground Resistance,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Harry Pussy,
Ohio Players,
Anthony Braxton,
Ronan,
Young Marble Giants,
Flipper,
Sam Rivers,
Sarah Menescal,
Fort Wilson Riot,
Ajijia Myrayebe,
The Monks,
Drive Like Jehu,
Pete Rock & C.L. Smooth,
Lightning Bolt,
Louis and Bebe Barron,
Pagans,
Glambeats Corp.,
The Tremeloes,
Peter and Kerry,
The Motions,
Dr. Dre and Snoop Doggy Dog,
Moss Icon,
David Axelrod,
Porter Ricks,
David McCallum,
The Offenders,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.