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 Korea North and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1970.
I'm losing my edge.
To all the kids in Tokyo and Bremen.
I'm losing my edge to the art-school Beijing 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 chamberlin 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 Moby Grape to the funk 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 Faraquet. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Letta Mbulu record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry Gold Smith,
Mantronix,
Fifty Foot Hose,
Unwound,
Crispy Ambulance,
Harpers Bizarre,
Lyres,
The New Christs,
Ohio Players,
Nico,
Yusef Lateef,
The Offenders,
UT,
Tim Buckley,
Kas Product,
James Chance & The Contortions,
Cabaret Voltaire,
Barbara Tucker,
Tears for Fears,
The Victims,
Thompson Twins,
Sister Nancy,
Eric Dolphy,
Man Eating Sloth,
Henry Cow,
The Black Dice,
A Certain Ratio,
Heaven 17,
Echo & the Bunnymen,
MDC,
Jeru the Damaja,
Ultra Naté,
Bob Dylan,
The Evens,
Pagans,
Sex Pistols,
Steve Hackett,
The Searchers,
Sällskapet,
Roy Ayers Ubiquity,
Wolf Eyes,
Sam Rivers,
Funky Four + One,
E-Dancer,
Vladislav Delay,
Simply Red,
The Royal Family And The Poor,
Von Mondo,
Rites of Spring,
Lakeside,
Crime,
Bobby Hutcherson,
Kurtis Blow,
The Modern Lovers,
Funkadelic,
Rhythim Is Rhythim,
Scientists,
Dead Boys,
Piero Umiliani,
Bang On A Can,
Bad Manners,
Al Stewart,
Average White Band, Average White Band, Average White Band, Average White Band.
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.