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 Dominica and from Manchester.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Columbus and Tokyo.
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 1984 at the first Arcadia practice in a loft in London.
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 Smog to the punk kids.
I played it at the Troubador.
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 Flamin' Groovies. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Deepchord record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Masters at Work,
The Knickerbockers,
June of 44,
Matthew Bourne,
Black Bananas,
Spandau Ballet,
DJ Sneak,
MDC,
Curtis Mayfield,
These Immortal Souls,
Yellowson,
Surgeon,
Al Stewart,
Deepchord,
the Slits,
Bad Manners,
Jawbox,
James White and The Blacks,
Black Moon,
The Five Americans,
The Shadows of Knight,
Bill Near,
Kas Product,
Sad Lovers and Giants,
Yaz,
Bauhaus,
Jeru the Damaja,
The Monochrome Set,
The Fall,
Steve Hackett,
Quando Quango,
Swell Maps,
10cc,
Animal Collective,
The Cure,
Marcia Griffiths,
Wighnomy Brothers & Robag Wruhme,
Second Layer,
Morten Harket,
Visionaries,LMNO, T- Love & Iriscience,
Neu!,
The Durutti Column,
The Zeros,
The Wake,
Qualms,
Roy Ayers Ubiquity,
Flash Fearless,
Kango’s Stein Massive,
JFA,
Gong,
Gil Scott-Heron & Brian Jackson,
Rowland S Howard / Lydia Lunch,
Buzzcocks,
T. Rex,
Warren Ellis,
The Busters,
U.S. Maple,
Marvin Gaye,
The Sisters of Mercy,
Ultravox,
Lucky Dragons,
Aswad, Aswad, Aswad, Aswad.
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.