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 Greece and from Portland.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1977.
I'm losing my edge.
To all the kids in Mexico City and Sao Paulo.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Faraquet to the grime 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 H. Thieme. All the underground hits.
All The Knickerbockers tracks. I heard you have a vinyl of every Subhumans record on German import.
I heard that you have a white label of every seminal punk 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 a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Skatalites record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
Underground Resistance,
Lebanon Hanover,
Roy Ayers,
The Divine Comedy,
Piero Umiliani,
Ludus,
Bill Wells,
Barbara Tucker,
Absolute Body Control,
Chrome,
The Blackbyrds,
Joensuu 1685,
Dorothy Ashby,
Neil Young & Crazy Horse,
Eden Ahbez,
One Last Wish,
Minor Threat,
X-102,
Byron Stingily,
Crash Course in Science,
The American Breed,
Nation of Ulysses,
Eve St. Jones,
June of 44,
The Chocolate Watch Band,
Parry Music,
Black Bananas,
Tommy Roe,
Joe Smooth,
Aural Exciters,
Procol Harum,
Tears for Fears,
The Wake,
Eric B and Rakim,
Boredoms,
Bronski Beat,
Icehouse,
China Crisis,
Avey Tare,
Nick Cave & The Bad Seeds,
Monolake,
The Slackers,
Scott Walker + Sunn O))),
Gil Scott-Heron & Brian Jackson,
Public Image Ltd.,
Electric Prunes,
Barrington Levy,
Dual Sessions,
Ronan,
David Axelrod,
Loose Ends,
The Evens,
Crime,
Groovy Waters,
Cybotron,
Wolf Eyes,
The Detroit Cobras,
Jacques Brel,
L. Decosne,
The Last Poets,
Newcleus,
the Bar-Kays,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.