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 Gambia and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1978.
I'm losing my edge.
To all the kids in Portland and Lagos.
I'm losing my edge to the art-school Lille 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 linndrum sounds with much patience.
I was there when David Bowie 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 Gary Puckett & The Union Gap to the electroclash 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 Easy Going. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every Marc Romboy vs. Booka Shade 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Essential Logic,
48th St. Collective,
Avey Tare's Slasher Flicks,
Hot Snakes,
Black Moon,
Nas,
The Detroit Cobras,
Rowland S Howard / Lydia Lunch,
Skarface,
The Human League,
Camouflage,
Lakeside,
The Doobie Brothers,
The Associates,
Animal Collective,
Fear,
Malaria!,
Gang of Four,
Crooked Eye,
Letta Mbulu,
Jandek,
Al Stewart,
a-ha,
Grandmaster Flash,
Agitation Free,
Bootsy Collins,
Mark Hollis,
Skriet,
The Toasters,
Eric Dolphy,
Spoonie Gee,
The Pretty Things,
the Association,
Derrick May,
Thompson Twins,
Todd Terry,
Marmalade,
Scratch Acid,
Rotary Connection,
The Sisters of Mercy,
Kool G Rap & DJ Polo,
De La Soul & Jungle Brothers,
Tomorrow,
Roxy Music,
The Index,
F. McDonald,
Inner City,
Model 500,
Soul II Soul,
Matthew Halsall,
The Motions,
Peter Gordon & Love of Life Orchestra,
Tears for Fears,
The Techniques,
Japan,
Black Bananas,
CMW,
Mission of Burma,
The Evens,
Surgeon,
Big Daddy Kane,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.