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 Uzbekistan and from Hong Kong.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Accra.
I'm losing my edge to the art-school Cairo 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 Nile Rodgers 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 Fear to the punk kids.
I played it at the Astoria.
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 Bootsy's Rubber Band. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Mr. Review,
Harmonia,
Talk Talk,
The Litter,
Y Pants,
kango's stein massive,
Liaisons Dangereuses,
the Sonics,
The Blues Magoos,
Sam Rivers,
Scion,
Neil Young,
Franke,
Traffic Nightmare,
Jesper Dahlbäck,
The Alarm Clocks,
Nik Kershaw,
Circle Jerks,
Half Japanese,
Robert Hood,
Alice Coltrane,
Laurel Aitken,
Procol Harum,
Derrick May,
Tropical Tobacco,
The Men They Couldn't Hang,
The Buckinghams,
Ultravox,
Motorama,
Avey Tare,
Matthew Halsall,
Urselle,
A Certain Ratio,
Eddi Front,
Judy Mowatt,
Rhythm & Sound,
Intrusion,
Gil Scott-Heron & Brian Jackson,
Selector Dub Narcotic,
Frankie Knuckles,
Gil Scott Heron,
Magazine,
Unwound,
Pharoah Sanders,
Brick,
Blake Baxter,
Gichy Dan,
Lungfish,
Audionom,
Schoolly D,
The Count Five,
The Moleskins,
Camouflage,
The Cowsills,
cv313,
Fear,
Faust,
Jacob Miller,
Barrington Levy,
Radio Birdman,
Japan,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane.
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.