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 South Sudan and from Edmonton.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Madrid.
I'm losing my edge to the art-school New York 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 güiro 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 Massinfluence to the crunk kids.
I played it at the 40 Watt.
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 Misunderstood. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Gerry Rafferty 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Tomorrow,
Eyeless In Gaza,
U.S. Maple,
Tommy Roe,
Outsiders,
Jacob Miller,
Half Japanese,
Strawberry Alarm Clock,
Notorious Big And Bone Thugs,
Brick,
Kenny Larkin,
Ajijia Myrayebe,
Skaos,
The Sound,
Super Lover Cee & Casanova Rud,
Underground Resistance,
The Angels of Light,
Ultimate Spinach,
Arthur Verocai,
the Slits,
Shoche,
Blossom Toes,
Absolute Body Control,
Todd Rundgren,
Tears for Fears,
Red Lorry Yellow Lorry,
Yellowson,
Marvin Gaye,
Marine Girls,
The Raincoats,
The Men They Couldn't Hang,
The Victims,
Archie Shepp,
DJ Style,
New Order,
Yaz,
Au Pairs,
FM Einheit,
Gary Puckett & The Union Gap,
Excepter,
Ralphi Rosario,
Liliput,
Todd Terry,
Black Bananas,
JFA,
Alison Limerick,
Eric Copeland,
Orchestral Manoeuvres in the Dark,
Susan Cadogan,
Sexual Harrassment,
Bill Near,
Black Sheep,
Wire,
Ash Ra Tempel,
Banda Bassotti,
Black Flag,
Idris Muhammad,
Flamin' Groovies,
Ohio Players,
X-Ray Spex,
Marc Romboy vs. Booka Shade,
a-ha,
The Doors, The Doors, The Doors, The Doors.
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.