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 Brazil and from New York.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Milan.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Boredoms to the grunge kids.
I played it at CBGB's.
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 The Zeros. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every Trumans Water 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radio Birdman,
The Peanut Butter Conspiracy,
Rosa Yemen,
Alphaville,
Althea and Donna,
The Leaves,
Magma,
Lower 48,
The Skatalites,
Interpol,
Tropical Tobacco,
Joe Smooth,
Vaughan Mason & Crew,
The Fall,
Girls At Our Best!,
Lou Reed & John Cale,
The Moleskins,
The Fire Engines,
The J.B.'s,
Alton Ellis,
Bizarre Inc.,
Radiohead,
Mission of Burma,
Leonard Cohen,
Flash Fearless,
Excepter,
Susan Cadogan,
Flipper,
The Slits,
Bobby Hutcherson,
DJ Sneak,
Depeche Mode,
Godley & Creme,
the Swans,
Prince Buster,
Morten Harket,
The Modern Lovers,
Aloha Tigers,
Section 25,
Von Mondo,
Y Pants,
Eric Dolphy,
Anakelly,
Funkadelic,
Ossler,
Jerry Gold Smith,
Alison Limerick,
One Last Wish,
Quando Quango,
Hardrive,
Gregory Isaacs,
The Fugs,
Todd Terry,
The Golliwogs,
Organ,
Lebanon Hanover,
Isaac Hayes,
Andrew Hill,
The American Breed,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.