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 Equatorial Guinea and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Taipei and Seoul.
I'm losing my edge to the art-school Beijing 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Ajijia Myrayebe to the techno 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 Ultramagnetic MC's. All the underground hits.
All Circle Jerks tracks. I heard you have a vinyl of every the Fania All-Stars 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol 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?
Mary Jane Girls,
K-Klass,
Delta 5,
Moby Grape,
Underground Resistance,
Bobby Byrd,
DJ Style,
Reagan Youth,
Teenage Jesus and the Jerks,
Index,
Marmalade,
Roy Ayers,
Wolf Eyes,
The Offenders,
John Holt,
Gil Scott Heron,
Procol Harum,
The Saints,
Albert Ayler,
Make Up,
Bauhaus,
Boogie Down Productions,
Jeru the Damaja,
Eric Dolphy,
Chrome,
Faust,
Kool G Rap & DJ Polo,
Major Organ And The Adding Machine,
Nico,
Eric B and Rakim,
Groovy Waters,
Metal Thangz,
A Certain Ratio,
Notorious Big And Bone Thugs,
Black Sheep,
Pere Ubu,
Boz Scaggs,
Yellowson,
Judy Mowatt,
Mars,
Eddi Front,
Clear Light,
Section 25,
Unwound,
Vaughan Mason & Crew,
Graham Central Station,
Avey Tare,
ABC,
Gerry Rafferty,
Flipper,
Joy Division,
Faraquet,
Public Enemy,
Lonnie Liston Smith,
Agitation Free,
New York Dolls,
Eli Mardock,
Janne Schatter,
The Smoke,
The Five Americans,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.