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 Netherlands and from Paris.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1972.
I'm losing my edge.
To all the kids in Madrid and Woodstock.
I'm losing my edge to the art-school Mumbai 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Duran Duran to the rock 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 Toni Rubio. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every The Last Poets record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Young Rascals,
Television,
Malaria!,
Simply Red,
Laurel Aitken,
The Victims,
Tres Demented,
Arab on Radar,
Don Cherry,
New York Dolls,
Theoretical Girls,
Soul II Soul,
Alison Limerick,
Brand Nubian,
K-Klass,
Little Man,
The Jesus and Mary Chain,
Donald Byrd,
Radiopuhelimet,
June of 44,
Fear,
Fad Gadget,
Lindisfarne,
Sexual Harrassment,
Sonic Youth,
John Coltrane,
Country Teasers,
Panda Bear,
Metal Thangz,
Grauzone,
Parry Music,
B.T. Express,
The Beau Brummels,
The Cramps,
Sonny Sharrock,
Niagra,
Rufus Thomas,
Terrestrial Tones,
Mars,
Lucky Dragons,
Notorious Big And Bone Thugs,
Cluster,
Nation of Ulysses,
Crash Course in Science,
Lou Christie,
X-101,
Sly & The Family Stone,
The Peanut Butter Conspiracy,
DNA,
Underground Resistance,
Inner City,
Fifty Foot Hose,
the Bar-Kays,
Max Romeo,
Jeff Mills,
Selector Dub Narcotic,
Albert Ayler,
Average White Band,
Faust,
Ajijia Myrayebe,
Mantronix,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.