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 Bangladesh and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Lyon and Accra.
I'm losing my edge to the art-school Johannesburg 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 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 Prince Buster to the grunge kids.
I played it at the Astoria.
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 Gabor Szabo. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Fela Kuti record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
Donny Hathaway,
Jacob Miller,
Qualms,
Louis and Bebe Barron,
Camouflage,
Buzzcocks,
La Düsseldorf,
Ultramagnetic MC's,
The Beau Brummels,
the Germs,
Johnny Osbourne,
The Motions,
Groovy Waters,
Archie Shepp,
Pete Rock & C.L. Smooth,
The Move,
Black Moon,
Nirvana,
The Trojans,
The Cowsills,
Pantaleimon,
Stereo Dub,
T.S.O.L.,
The Durutti Column,
The Grass Roots,
Bob Dylan,
Unwound,
Gang Gang Dance,
Stetsasonic,
Colin Newman,
Crash Course in Science,
Jimmy McGriff,
Second Layer,
Trumans Water,
Young Marble Giants,
Gregory Isaacs,
Heaven 17,
Gang Green,
Magma,
Sight & Sound,
The Smoke,
Manfred Mann's Earth Band,
The Monks,
Desert Stars,
Severed Heads,
Bobby Womack,
Matthew Bourne,
Brass Construction,
The J.B.'s,
Joy Division,
The Neon Judgement,
Glambeats Corp.,
Audionom,
Sad Lovers and Giants,
Andrew Hill,
This Heat,
Bobby Byrd,
Marmalade,
Skaos,
Black Pus,
June Days, June Days, June Days, June Days.
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.