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 India and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1976.
I'm losing my edge.
To all the kids in Columbus and Mumbai.
I'm losing my edge to the art-school New York 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 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 Mark Hollis to the disco kids.
I played it at the Astoria.
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 Theoretical Girls. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every The Skatalites 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Lindisfarne,
Harmonia,
Kevin Saunderson,
Sixth Finger,
Ultra Naté,
The Toasters,
The Offenders,
Hoover,
Sarah Menescal,
Isaac Hayes,
AZ,
Be Bop Deluxe,
Sad Lovers and Giants,
B.T. Express,
Dark Day,
Barrington Levy,
Johnny Osbourne,
Popol Vuh,
Inner City,
Newcleus,
James Chance & The Contortions,
The Men They Couldn't Hang,
Lou Reed,
The Names,
Tropical Tobacco,
Jeru the Damaja,
Ituana,
The Residents,
Arab on Radar,
Audionom,
Drexciya,
Cymande,
Fugazi,
Jacob Miller,
Pete Rock & C.L. Smooth,
Altered Images,
Fela Kuti,
The Fire Engines,
The Saints,
Althea and Donna,
Bad Manners,
Nils Olav,
Jacques Brel,
Negative Approach,
Interpol,
Monolake,
Jesper Dahlbäck,
KRS-One,
Public Image Ltd.,
Infiniti,
Deadbeat,
Rekid,
Fifty Foot Hose,
The Zeros,
E-Dancer,
Ponytail,
Jawbox,
Ken Boothe,
Index,
Lucky Dragons,
Susan Cadogan,
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.