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 Kosovo and from Copenhagen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Taipei and Philadelphia.
I'm losing my edge to the art-school Lille 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Judy Mowatt to the jazz 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 John Lydon. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
Tres Demented,
Crime,
Massinfluence,
Mars,
Susan Cadogan,
Chris & Cosey,
Black Pus,
Altered Images,
Gichy Dan,
Underground Resistance,
Hoover,
The Slackers,
Radiopuhelimet,
The Martian,
Infiniti,
Cecil Taylor,
Rowland S Howard / Lydia Lunch,
Fifty Foot Hose,
Man Eating Sloth,
The Toasters,
Faraquet,
Camouflage,
Eric Dolphy,
Thompson Twins,
The Busters,
Dorothy Ashby,
Fluxion,
The Walker Brothers,
Bill Wells,
Harmonia,
Terrestrial Tones,
David McCallum,
These Immortal Souls,
David Axelrod,
Glambeats Corp.,
Bobby Sherman,
Connie Case,
The Divine Comedy,
Rhythim Is Rhythim,
Suburban Knight,
Sarah Menescal,
Aswad,
Pulsallama,
Qualms,
Black Moon,
London Community Gospel Choir,
Wighnomy Brothers & Robag Wruhme,
DNA,
Red Lorry Yellow Lorry,
Country Teasers,
Wings,
Delta 5,
Bootsy Collins,
Funkadelic,
The Cosmic Jokers,
8 Eyed Spy,
Tropical Tobacco,
Ultimate Spinach,
Dual Sessions,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.