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 Portugal and from New York.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1960 to 1973.
I'm losing my edge.
To all the kids in Madrid and Woodstock.
I'm losing my edge to the art-school Copenhagen 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 808 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 Porter Ricks to the disco kids.
I played it at Trash.
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 Subhumans. All the underground hits.
All Newcleus tracks. I heard you have a vinyl of every F. McDonald 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Terry Callier,
Bang On A Can,
Das Ding,
Kerri Chandler,
Quantec,
Severed Heads,
John Foxx,
Rekid,
Audionom,
Swans,
Johnny Osbourne,
Derrick Morgan,
Prince Buster,
L. Decosne,
The Slits,
Gian Franco Pienzio,
Dorothy Ashby,
Reagan Youth,
Terrestrial Tones,
Monks,
Zero Boys,
Youth Brigade,
Camron Feat. Memphis Bleek And Beenie Seigel,
X-101,
Oppenheimer Analysis,
Aural Exciters,
The Smoke,
The Remains,
Swell Maps,
Pole,
The Raincoats,
Ponytail,
Ice-T,
Eric Dolphy,
Newcleus,
The Residents,
Scott Walker,
Sandy B,
Angry Samoans,
The Index,
Tears for Fears,
Jandek,
Idris Muhammad,
Ash Ra Tempel,
Siouxsie and the Banshees,
Pantytec,
Dual Sessions,
Surgeon,
Subhumans,
Spandau Ballet,
MDC,
Desert Stars,
Magazine,
Underground Resistance,
Delta 5,
Second Layer,
Interpol,
The Royal Family And The Poor,
Sällskapet,
Scion, Scion, Scion, Scion.
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.