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 Egypt and from London.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Calgary and Calgary.
I'm losing my edge to the art-school Edmonton 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 The Fugs to the rap kids.
I played it at the Spitz.
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 Fatback Band. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every One Last Wish 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 '80s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Fatback Band,
Echospace,
Mandrill,
The Velvet Underground,
Tubeway Army,
Susan Cadogan,
Slick Rick,
John Holt,
Sexual Harrassment,
Howard Jones,
Black Sheep,
Erasure,
The Names,
Matthew Halsall,
Agitation Free,
Kaleidoscope,
Sound Behaviour,
Letta Mbulu,
Man Eating Sloth,
Icehouse,
Dennis Brown,
The Mojo Men,
Infiniti,
Albert Ayler,
Larry & the Blue Notes,
Shoche,
Bill Wells,
The Five Americans,
Monks,
The Blues Magoos,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Talk Talk,
Dorothy Ashby,
Symarip,
London Community Gospel Choir,
John Lydon,
Bronski Beat,
cv313,
Malaria!,
Mad Mike,
The Blackbyrds,
Zapp,
Ultramagnetic MC's,
Lebanon Hanover,
Gerry Rafferty,
PIL,
Lalo Schifrin,
Mark Hollis,
CMW,
Popol Vuh,
Fifty Foot Hose,
Fugazi,
Byron Stingily,
The Zeros,
Bobby Sherman,
The Real Kids,
The Modern Lovers,
Joensuu 1685,
Arthur Verocai,
Vaughan Mason & Crew,
The Moody Blues, The Moody Blues, The Moody Blues, The Moody Blues.
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.