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 Jordan and from Salvador.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Seoul and Calgary.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Crooked Eye to the dance kids.
I played it at the Roxy.
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 Ornette Coleman. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
The Doors,
Excepter,
Jawbox,
Robert Hood,
Franke,
The Modern Lovers,
Massinfluence,
Wings,
Cymande,
Mars,
Marc Almond,
Captain Beefheart & His Magic Band,
Colin Newman,
It's A Beautiful Day,
X-102,
Big Daddy Kane,
H. Thieme,
Marmalade,
Harmonia,
Underground Resistance,
Kool G Rap & DJ Polo,
The American Breed,
Jimmy McGriff,
Crispian St. Peters,
Stockholm Monsters,
New Order,
Boz Scaggs,
Adolescents,
Rhythim Is Rhythim,
Junior Murvin,
CMW,
Khruangbin,
The Gap Band,
Terry Callier,
Bang on a Can All-Stars,
Faust,
Gerry Rafferty,
Lizzy Mercier Descloux,
The Happenings,
Kango’s Stein Massive,
Dark Day,
Section 25,
Sam Rivers,
UT,
Outsiders,
Gil Scott-Heron and Jamie xx,
Gastr Del Sol,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
John Cale,
Bootsy Collins,
Electric Light Orchestra,
Sarah Menescal,
Minutemen,
The Dead C,
Lou Reed & Metallica,
Slave,
David Axelrod,
Eden Ahbez,
Pantytec,
De La Soul & Jungle Brothers,
Thee Headcoats,
The Slits, The Slits, The Slits, The Slits.
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.