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 Bosnia Herzegovina and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1970.
I'm losing my edge.
To all the kids in London and Woodstock.
I'm losing my edge to the art-school Bologna 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Hashim to the rock kids.
I played it at the Hacienda.
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 Barclay James Harvest. All the underground hits.
All The Blackbyrds tracks. I heard you have a vinyl of every Camberwell Now record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Gun Club record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Michelle Simonal,
Deepchord,
Morten Harket,
Glenn Branca,
Magazine,
The Pop Group,
Inner City,
Royal Trux,
Technova,
Niagra,
Bizarre Inc.,
Spoonie Gee,
The Gories,
Goldenarms,
U.S. Maple,
Ash Ra Tempel,
Tom Boy,
Henry Cow,
Outsiders,
Donny Hathaway,
June of 44,
Pet Shop Boys,
Kayak,
Television Personalities,
Wire,
Letta Mbulu,
Supertramp,
Joyce Sims,
Alton Ellis,
Deutsch Amerikanische Freundschaft,
the Slits,
Unwound,
Jawbox,
Newcleus,
Faraquet,
Tommy Roe,
Teenage Jesus and the Jerks,
Con Funk Shun,
Circle Jerks,
Bobby Womack,
The Techniques,
Davy DMX,
Flash Fearless,
Gerry Rafferty,
KRS-One,
Moss Icon,
Buzzcocks,
Traffic Nightmare,
The Sonics,
World's Most,
Pylon,
Subhumans,
Sam Rivers,
Neu!,
In Retrospect,
Röyhkä ja Rättö ja Lehtisalo,
Nick Fraelich,
Siglo XX,
Quadrant,
E-Dancer,
Eric B and Rakim,
Marc Romboy vs. Booka Shade,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.