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 Mauritius and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Seoul.
I'm losing my edge to the art-school Taipei 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 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 Organ to the grime kids.
I played it at the Troubador.
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 The Red Krayola. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Sarah Menescal,
Electric Light Orchestra,
Juan Atkins,
Desert Stars,
Richard Hell and the Voidoids,
James Chance & The Contortions,
Gil Scott-Heron & Brian Jackson,
Youth Brigade,
The Fuzztones,
The Last Poets,
Sun Ra Arkestra,
Roy Ayers,
The Names,
Inner City,
Peter & Gordon,
Captain Beefheart & His Magic Band,
Ohio Players,
The Offenders,
Bluetip,
LL Cool J,
Visage,
Gary Puckett & The Union Gap,
Glambeats Corp.,
Amon Düül II,
Mary Jane Girls,
Oneida,
ABBA,
Lungfish,
Talk Talk,
La Düsseldorf,
The Searchers,
Warsaw,
Teenage Jesus and the Jerks,
Rosa Yemen,
James White and The Blacks,
Index,
Adolescents,
UT,
ABC,
Nas,
Matthew Halsall,
The Leaves,
Slick Rick,
Half Japanese,
The Martian,
Connie Case,
Avey Tare & Kría Brekkan,
Kas Product,
Los Fastidios,
Red Lorry Yellow Lorry,
Audionom,
Arab on Radar,
The Sound,
Tubeway Army,
DeepChord presents Echospace,
The Monochrome Set,
Lebanon Hanover,
Gastr Del Sol,
Blossom Toes,
Bush Tetras,
Roxette,
a-ha,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.