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 Marshall Islands and from Madrid.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1977.
I'm losing my edge.
To all the kids in Stockholm and Philadelphia.
I'm losing my edge to the art-school Shanghai 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Alton Ellis to the grunge 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 Gang Starr. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Buckinghams record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Buzzcocks,
F. McDonald,
Lebanon Hanover,
the Association,
Carl Craig,
Kool G Rap & DJ Polo,
Lou Reed & Metallica,
Nils Olav,
a-ha,
Aaron Thompson,
New Order,
Roxette,
Chris Corsano,
Deutsch Amerikanische Freundschaft,
Bootsy Collins,
Fat Boys,
Spandau Ballet,
10cc,
In Retrospect,
Ken Boothe,
Gian Franco Pienzio,
De La Soul & Jungle Brothers,
Electric Light Orchestra,
The Five Americans,
Alice Coltrane,
Scott Walker + Sunn O))),
The Sound,
Thee Headcoats,
The Techniques,
Graham Central Station,
The Moody Blues,
Jacques Brel,
Ultravox,
Bronski Beat,
New Age Steppers,
The Fall,
Trumans Water,
The Smiths,
Yusef Lateef,
Surgeon,
Ice-T,
Gastr Del Sol,
Black Moon,
Zero Boys,
Lalann,
The Knickerbockers,
Steve Hackett,
Sun City Girls,
The Barracudas,
Charles Mingus,
Kerri Chandler,
Jerry's Kids,
Zapp,
Jandek,
Terry Callier,
Robert Hood,
Desert Stars,
The Moleskins,
Ten City,
Juan Atkins,
Interpol,
Neu!,
EPMD,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.