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 Germany and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Halifax and Glasgow.
I'm losing my edge to the art-school Bremen 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 808 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 X-102 to the funk 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 Arab on Radar. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Sly & The Family Stone record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Zero Boys,
Hot Snakes,
Popol Vuh,
Outsiders,
Lizzy Mercier Descloux,
These Immortal Souls,
Drive Like Jehu,
Joe Finger,
The Fall,
Sugar Minott,
Bronski Beat,
Sight & Sound,
Quantec,
Frankie Knuckles,
Notorious Big And Bone Thugs,
Royal Trux,
Throbbing Gristle,
Organ,
Gary Puckett & The Union Gap,
Grey Daturas,
Boredoms,
Swell Maps,
The Barracudas,
Junior Murvin,
Bobby Byrd,
Sunsets and Hearts,
Von Mondo,
EPMD,
The Knickerbockers,
Amon Düül,
Saccharine Trust,
X-102,
Althea and Donna,
Bootsy's Rubber Band,
China Crisis,
Derrick Morgan,
The Music Machine,
Sarah Menescal,
Ituana,
Be Bop Deluxe,
Radiopuhelimet,
Funkadelic,
Echo & the Bunnymen,
Quadrant,
Leonard Cohen,
Minutemen,
The Blues Magoos,
The Gun Club,
the Human League,
DeepChord presents Echospace,
Marine Girls,
Ohio Players,
Prince Buster,
Tommy Roe,
The Doors,
LL Cool J,
Wire,
Reagan Youth,
Colin Newman,
Lungfish,
Drexciya, Drexciya, Drexciya, Drexciya.
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.