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 Eritrea and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Milan and Stockholm.
I'm losing my edge to the art-school Glasgow 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 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 Kerrie Biddell to the techno kids.
I played it at the Spitz.
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 Half Japanese. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Echospace record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Roxette,
Soft Machine,
Young Marble Giants,
Das Ding,
X-Ray Spex,
Ash Ra Tempel,
Graham Central Station,
Patti Smith,
Eve St. Jones,
Bush Tetras,
The Cosmic Jokers,
David Axelrod,
Cecil Taylor,
Siglo XX,
The Alarm Clocks,
The Sound,
CMW,
EPMD,
Big Daddy Kane,
Maurizio,
Arthur Verocai,
Andrew Ashong & Theo Parrish,
Silicon Teens,
Flipper,
Bill Near,
Albert Ayler,
Johnny Clarke,
Sister Nancy,
Schoolly D,
The Detroit Cobras,
Ajijia Myrayebe,
Crash Course in Science,
Matthew Halsall,
Bang On A Can,
The Cowsills,
Derrick May,
MC5,
Make Up,
The Flesh Eaters,
Con Funk Shun,
Scion,
Cameo,
Stereo Dub,
Scratch Acid,
Wighnomy Brothers & Robag Wruhme,
The Neon Judgement,
Glenn Branca,
X-102,
Massinfluence,
Masters at Work,
Jerry's Kids,
Crispy Ambulance,
The Moody Blues,
The Blackbyrds,
A Certain Ratio,
Q and Not U,
Ultramagnetic MC's,
The Victims,
Electric Light Orchestra,
Cymande,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.