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 Indonesia and from Portland.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1965 to 1977.
I'm losing my edge.
To all the kids in Taipei and Woodstock.
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 theremin 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 Gil Scott-Heron and Jamie xx to the jazz kids.
I played it at the Spitz.
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 Smiths. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Guru Guru 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lebanon Hanover,
Crispy Ambulance,
Man Eating Sloth,
The Index,
Stereo Dub,
Unrelated Segments,
Magma,
Girls At Our Best!,
The Music Machine,
The Raincoats,
H. Thieme,
The Men They Couldn't Hang,
Arcadia,
Notorious Big And Bone Thugs,
Cameo,
Vladislav Delay,
La Düsseldorf,
Trumans Water,
The Standells,
Patti Smith,
Bobby Sherman,
Roy Ayers,
Public Image Ltd.,
The American Breed,
Max Romeo,
This Heat,
Suburban Knight,
Radiohead,
Procol Harum,
Ken Boothe,
Justin Hinds & The Dominoes,
Jimmy McGriff,
Crash Course in Science,
Surgeon,
The Selecter,
Ronan,
Dark Day,
The Victims,
The Sound,
Brick,
Roger Hodgson,
Blake Baxter,
Eve St. Jones,
Scrapy,
Stockholm Monsters,
Sällskapet,
Banda Bassotti,
Janne Schatter,
Robert Görl,
Severed Heads,
Barry Ungar,
Funky Four + One,
Kerri Chandler,
James Chance & The Contortions,
MDC,
Rahsaan Roland Kirk,
Stetsasonic,
Section 25,
Kauko Röyhkä ja Narttu,
Adolescents,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.