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 St Kitts & Nevis and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Lagos and Madrid.
I'm losing my edge to the art-school Accra 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 clarinet sounds with much patience.
I was there when Holger Czukay 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 Nick Fraelich to the grime kids.
I played it at the Roxy.
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 Spoonie Gee. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every Black Sheep 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
The Cowsills,
Selector Dub Narcotic,
Traffic Nightmare,
Ossler,
Davy DMX,
Visage,
The American Breed,
John Cale,
The Moody Blues,
Suicide,
The Fall,
The Moleskins,
Sparks,
John Holt,
Duran Duran,
The Happenings,
Slave,
Dark Day,
Skaos,
The Motions,
Los Fastidios,
The Misunderstood,
Johnny Clarke,
Rapeman,
Technova,
D'Angelo,
Lightning Bolt,
Wire,
Throbbing Gristle,
Andrew Ashong & Theo Parrish,
Graham Central Station,
X-Ray Spex,
Aural Exciters,
Mantronix,
Johnny Osbourne,
Visionaries,LMNO, T- Love & Iriscience,
Deakin,
Simply Red,
Art Ensemble Of Chicago,
Lebanon Hanover,
Arcadia,
The Toasters,
Terry Callier,
Erasure,
Ice-T,
Archie Shepp,
Alison Limerick,
The Chocolate Watch Band,
Black Moon,
One Last Wish,
Quantec,
Cameo,
Interpol,
Qualms,
the Association,
Popol Vuh,
The Remains,
Public Enemy,
Marmalade,
Aloha Tigers,
Shuggie Otis, Shuggie Otis, Shuggie Otis, Shuggie Otis.
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.