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 Switzerland and from Columbus.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Accra and Sao Paulo.
I'm losing my edge to the art-school Mexico City 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 sitar 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 UT to the jazz kids.
I played it at CBGB's.
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 Hasil Adkins. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Public Image Ltd. record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Sexual Harrassment,
K-Klass,
La Düsseldorf,
Quadrant,
Lakeside,
Robert Wyatt,
The Victims,
Gil Scott-Heron and Jamie xx,
Hasil Adkins,
Mr. Review,
Marcia Griffiths,
Laurel Aitken,
Japan,
Siglo XX,
B.T. Express,
Sun Ra,
Franke,
The Move,
Lizzy Mercier Descloux,
Captain Beefheart & His Magic Band,
Rapeman,
Bootsy's Rubber Band,
Unwound,
U.S. Maple,
Frankie Knuckles,
Michelle Simonal,
Gerry Rafferty,
Carl Craig,
The Star Department,
Minor Threat,
Camouflage,
Wally Richardson,
The Beau Brummels,
Dark Day,
John Coltrane,
John Lydon,
Suicide,
Lonnie Liston Smith,
The Sonics,
Absolute Body Control,
Eden Ahbez,
Rotary Connection,
Nils Olav,
Kas Product,
Angry Samoans,
Electric Light Orchestra,
Junior Murvin,
Intrusion,
The Flesh Eaters,
Tommy Roe,
Orchestral Manoeuvres in the Dark,
Alice Coltrane,
The Toasters,
Fatback Band,
T. Rex,
Talk Talk,
Y Pants,
Mad Mike,
Marc Almond,
Quantec,
Manfred Mann's Earth Band,
Sunsets and Hearts,
De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers.
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.