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 Mozambique and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Houston and Philadelphia.
I'm losing my edge to the art-school Sao Paulo 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 organ sounds with much patience.
I was there when Tom Verlaine 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 Prince Buster to the jazz 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 Roy Ayers Ubiquity. All the underground hits.
All Visage tracks. I heard you have a vinyl of every Ronan 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 '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 Con Funk Shun record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blackbyrds,
The Count Five,
June Days,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Vogues,
Icehouse,
Severed Heads,
Rapeman,
Barrington Levy,
Kool Moe Dee,
Television Personalities,
The Durutti Column,
The Fortunes,
Charles Mingus,
Gregory Isaacs,
Zero Boys,
Roy Ayers Ubiquity,
Tom Boy,
the Soft Cell,
Mo-Dettes,
Camberwell Now,
Mission of Burma,
The Slackers,
Minny Pops,
Archie Shepp,
Aaron Thompson,
The United States of America,
Loose Ends,
Deepchord,
Stereo Dub,
Fear,
Lizzy Mercier Descloux,
Massinfluence,
Roxy Music,
The Martian,
Sexual Harrassment,
Alison Limerick,
Flamin' Groovies,
Simply Red,
Sandy B,
The Wake,
Boogie Down Productions,
Ossler,
Symarip,
Bizarre Inc.,
Parry Music,
Pantytec,
Grey Daturas,
Excepter,
The Gun Club,
Yaz,
Pantaleimon,
Brothers Johnson,
Eyeless In Gaza,
Bobby Byrd,
Underground Resistance,
the Fania All-Stars,
Rakim,
the Association,
Hasil Adkins,
Ohio Players,
Steve Hackett,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.