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 Portugal and from Johannesburg.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 Philadelphia and Copenhagen.
I'm losing my edge to the art-school Tehran 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 oboe sounds with much patience.
I was there when Lou Reed 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 Roy Ayers Ubiquity to the grime kids.
I played it at Cafe Wha.
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 Richard Hell and the Voidoids. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every Anakelly 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your theremin and bought a snare.
I hear that you and your band have sold your snare and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
the Slits,
The Cowsills,
Tres Demented,
Ituana,
The Fall,
Half Japanese,
Whodini,
Franke,
Bronski Beat,
DeepChord presents Echospace,
Pete Rock & C.L. Smooth,
Sound Behaviour,
The Gladiators,
Q and Not U,
Popol Vuh,
Dawn Penn,
Avey Tare's Slasher Flicks,
Barry Ungar,
Arthur Verocai,
Ultramagnetic MC's,
Heaven 17,
Amon Düül II,
Minor Threat,
Shoche,
Charles Mingus,
Connie Case,
Cybotron,
Eyeless In Gaza,
Technova,
Gian Franco Pienzio,
Morten Harket,
Depeche Mode,
Max Romeo,
Glenn Branca,
Chris Corsano,
The Last Poets,
Black Flag,
Gastr Del Sol,
Magazine,
The Pop Group,
Bang on a Can All-Stars,
Camron Feat. Memphis Bleek And Beenie Seigel,
Public Image Ltd.,
Deakin,
Skaos,
Liaisons Dangereuses,
Blake Baxter,
Banda Bassotti,
Neil Young & Crazy Horse,
Kurtis Blow,
T.S.O.L.,
New Age Steppers,
Lucky Dragons,
Frankie Knuckles,
Hardrive,
Sly & The Family Stone,
Andrew Hill,
Desert Stars,
Selector Dub Narcotic,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.