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 Spain and from Edmonton.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Stockholm.
I'm losing my edge to the art-school Philadelphia 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 The Moleskins to the grime kids.
I played it at the Crocodile.
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 New Age Steppers. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every DNA 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Angry Samoans record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Camron Feat. Memphis Bleek And Beenie Seigel,
the Soft Cell,
Reagan Youth,
Wighnomy Brothers & Robag Wruhme,
Franke,
B.T. Express,
Derrick May,
Sparks,
Moss Icon,
Todd Terry,
Nils Olav,
Rufus Thomas,
Iggy Pop,
X-102,
The Blackbyrds,
Hashim,
Infiniti,
Scan 7,
The Zeros,
Ituana,
Suburban Knight,
Blake Baxter,
Roger Hodgson,
Glambeats Corp.,
Neil Young & Crazy Horse,
DJ Style,
Fatback Band,
Manfred Mann's Earth Band,
The Sonics,
Cabaret Voltaire,
The Names,
Lakeside,
Scott Walker,
Cymande,
Tommy Roe,
The Chocolate Watch Band,
the Swans,
Black Bananas,
New Order,
A Certain Ratio,
Gastr Del Sol,
The Durutti Column,
DJ Sneak,
James White and The Blacks,
Eric Copeland,
Subhumans,
Bad Manners,
The Remains,
Monks,
Monolake,
Dark Day,
The Dead C,
Procol Harum,
Marshall Jefferson,
Das Ding,
Shuggie Otis,
Max Romeo,
Toni Rubio,
Moebius,
The Invisible, The Invisible, The Invisible, The Invisible.
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.