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 Accra.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Manchester and Portland.
I'm losing my edge to the art-school Jakarta 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Clear Light to the rock kids.
I played it at the Hacienda.
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 Fire Engines. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every The Victims record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne 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?
Joensuu 1685,
Bang On A Can,
The Slits,
Pole,
Cabaret Voltaire,
The Modern Lovers,
X-Ray Spex,
Peter & Gordon,
Skaos,
Strawberry Alarm Clock,
KRS-One,
Marine Girls,
The United States of America,
Crash Course in Science,
The Beau Brummels,
Gil Scott-Heron and Jamie xx,
DeepChord presents Echospace,
Minor Threat,
Aaron Thompson,
Kayak,
Inner City,
Bad Manners,
Rites of Spring,
Toni Rubio,
The Blackbyrds,
John Lydon,
DJ Sneak,
cv313,
Procol Harum,
Slave,
Judy Mowatt,
Half Japanese,
The Stooges,
Flash Fearless,
Iggy Pop,
De La Soul & Jungle Brothers,
Black Moon,
Sällskapet,
The Real Kids,
Peter and Kerry,
Rhythm & Sound,
Zero Boys,
F. McDonald,
Barrington Levy,
Sparks,
Jacques Brel,
Eyeless In Gaza,
Susan Cadogan,
Max Romeo,
The Sound,
Absolute Body Control,
Severed Heads,
Sex Pistols,
Dorothy Ashby,
Deepchord,
Kenny Larkin,
Wings,
Fear,
The Mojo Men,
Minutemen,
The Doobie Brothers,
PIL,
Junior Murvin,
Hardrive,
Television Personalities, Television Personalities, Television Personalities, Television Personalities.
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.