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 Monaco and from Houston.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Bologna.
I'm losing my edge to the art-school Milan 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 snare 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 Von Mondo to the disco 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 T.S.O.L.. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every The Associates record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Kinks record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minutemen,
Rapeman,
Laurel Aitken,
Robert Wyatt,
Animal Collective,
Zapp,
Lou Reed & John Cale,
Ash Ra Tempel,
The Litter,
Flipper,
Ultra Naté,
cv313,
Black Flag,
Jacob Miller,
Clear Light,
Reuben Wilson,
DJ Style,
Lee Hazlewood,
K-Klass,
Vladislav Delay,
Wally Richardson,
Connie Case,
Red Lorry Yellow Lorry,
Derrick Morgan,
The Black Dice,
Heavy D & The Boyz,
New York Dolls,
Drexciya,
Faust,
Babytalk,
Hasil Adkins,
The Beau Brummels,
Liaisons Dangereuses,
Nik Kershaw,
Alton Ellis,
the Germs,
Desert Stars,
Gang Starr,
Ludus,
Orchestral Manoeuvres in the Dark,
The Slackers,
Lonnie Liston Smith,
Dennis Brown,
Crime,
Malaria!,
Agitation Free,
Terrestrial Tones,
Gil Scott-Heron and Jamie xx,
Stereo Dub,
Bootsy's Rubber Band,
Oppenheimer Analysis,
London Community Gospel Choir,
Ossler,
Visionaries,LMNO, T- Love & Iriscience,
Negative Approach,
Dave Gahan,
Michelle Simonal,
Rhythim Is Rhythim,
Y Pants,
Stetsasonic,
Television Personalities,
Bang On A Can, Bang On A Can, Bang On A Can, Bang On A Can.
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.