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 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 1970.
I'm losing my edge.
To all the kids in Columbus and Lille.
I'm losing my edge to the art-school London 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin 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 Buzzcocks to the grime 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 The Techniques. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every Quando Quango 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 '60s cut and another box set from the '90s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
kango's stein massive,
Bauhaus,
Lungfish,
Jeff Lynne,
The Modern Lovers,
Kurtis Blow,
Magma,
The Pretty Things,
Con Funk Shun,
Joensuu 1685,
Bluetip,
Orchestral Manoeuvres in the Dark,
The Misunderstood,
Babytalk,
Malaria!,
The Techniques,
Bootsy's Rubber Band,
David Axelrod,
Funkadelic,
Sandy B,
Andrew Ashong & Theo Parrish,
La Düsseldorf,
Terrestrial Tones,
Robert Görl,
Amazonics,
The Star Department,
Skarface,
cv313,
Hashim,
Barclay James Harvest,
The Gories,
The Chocolate Watch Band,
Lafayette Afro Rock Band,
Chris & Cosey,
Trumans Water,
the Normal,
Alice Coltrane,
Lou Reed & John Cale,
Eric Dolphy,
Marine Girls,
Section 25,
Motorama,
Japan,
Scan 7,
Warsaw,
Eddi Front,
Nico,
Rowland S Howard / Lydia Lunch,
Pantaleimon,
Nick Fraelich,
Peter Gordon & Love of Life Orchestra,
Sam Rivers,
Lindisfarne,
Joey Negro,
The Mojo Men,
Suburban Knight,
Echo & the Bunnymen,
Scientists,
Hot Snakes,
Man Eating Sloth,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.