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 Niger and from Bremen.
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 1971.
I'm losing my edge.
To all the kids in Copenhagen and Spokane.
I'm losing my edge to the art-school Manchester 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the snare sounds with much patience.
I was there when Donald Fagen 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 Bootsy's Rubber Band to the electroclash kids.
I played it at the Hacienda.
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 Oneida. All the underground hits.
All The Leaves tracks. I heard you have a vinyl of every Arab on Radar record on German import.
I heard that you have a white label of every seminal jazz 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 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 Names record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
Derrick Morgan,
Al Stewart,
Cecil Taylor,
Yusef Lateef,
Maurizio,
Sound Behaviour,
Juan Atkins,
Eric B and Rakim,
the Bar-Kays,
Gang of Four,
Faraquet,
Adolescents,
Sun City Girls,
Little Man,
John Foxx,
Joensuu 1685,
Lou Reed,
Groovy Waters,
Deadbeat,
Grandmaster Flash and the Furious Five,
Aural Exciters,
Camouflage,
Grauzone,
Laurel Aitken,
Dual Sessions,
Alton Ellis,
Kings Of Tomorrow,
Gang Starr,
Lafayette Afro Rock Band,
The Walker Brothers,
Liliput,
Sarah Menescal,
Marcia Griffiths,
Country Joe & The Fish,
Sad Lovers and Giants,
Susan Cadogan,
Parry Music,
Ornette Coleman,
Avey Tare,
a-ha,
Camron Feat. Jay Z And Juelz,
D'Angelo,
Davy DMX,
Howard Jones,
The Smoke,
Robert Görl,
Frankie Knuckles,
Faust,
Barbara Tucker,
Yaz,
Visage,
Jacob Miller,
The Mojo Men,
The Birthday Party,
Gil Scott Heron,
Albert Ayler,
Scion,
Eric Dolphy,
K-Klass,
B.T. Express,
Bluetip,
Graham Central Station,
Pylon,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.