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 Burkina and from Salvador.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Houston.
I'm losing my edge to the art-school Hong Kong 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 John Coltrane to the rock 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 Hoover. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Warsaw 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Orchestral Manoeuvres in the Dark,
Carl Craig,
Danielle Patucci,
Freddie Wadling,
The Doobie Brothers,
Dual Sessions,
Gastr Del Sol,
The Happenings,
The Durutti Column,
LL Cool J,
Banda Bassotti,
Reuben Wilson,
Eric Copeland,
The Knickerbockers,
Black Moon,
Model 500,
Ituana,
Swell Maps,
Siouxsie and the Banshees,
Visage,
Faraquet,
The Pretty Things,
The Fire Engines,
Graham Central Station,
The Five Americans,
Terry Callier,
Das Ding,
DJ Style,
Kool G Rap & DJ Polo,
Louis and Bebe Barron,
The Neon Judgement,
Qualms,
Surgeon,
Radiopuhelimet,
Crash Course in Science,
Magazine,
The Human League,
Ralphi Rosario,
cv313,
The Velvet Underground,
Sunsets and Hearts,
Sexual Harrassment,
Minutemen,
Vaughan Mason & Crew,
Strawberry Alarm Clock,
The Busters,
The Blackbyrds,
World's Most,
Kerri Chandler,
DeepChord presents Echospace,
48th St. Collective,
New York Dolls,
Sound Behaviour,
Gregory Isaacs,
Severed Heads,
The Techniques,
Clear Light,
Gil Scott-Heron and Jamie xx,
Joyce Sims,
Archie Shepp,
Pylon, Pylon, Pylon, Pylon.
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.