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 Cuba and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Columbus and Hong Kong.
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 rhodes 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 kango's stein massive to the punk kids.
I played it at CBGB's.
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 James Chance & The Contortions. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Henry Cow 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Dorothy Ashby,
Wings,
Ornette Coleman,
The Fire Engines,
Slave,
The Litter,
The Men They Couldn't Hang,
The Gories,
Lakeside,
Boredoms,
UT,
The Mojo Men,
Mr. Review,
Lafayette Afro Rock Band,
Lyres,
Minutemen,
The Fuzztones,
Technova,
Wally Richardson,
Throbbing Gristle,
a-ha,
Monolake,
Erasure,
Mary Jane Girls,
Crash Course in Science,
Average White Band,
Qualms,
Essential Logic,
Suburban Knight,
Arthur Verocai,
the Association,
Dawn Penn,
June of 44,
Dual Sessions,
Josef K,
Ultramagnetic MC's,
Ossler,
Rod Modell,
The Beau Brummels,
Boogie Down Productions,
Steve Hackett,
The Mummies,
Wighnomy Brothers & Robag Wruhme,
Andrew Ashong & Theo Parrish,
Gichy Dan,
Liaisons Dangereuses,
Joyce Sims,
Clear Light,
OOIOO,
Half Japanese,
The Barracudas,
The Music Machine,
Rotary Connection,
John Cale,
Bobbi Humphrey,
Rufus Thomas,
AZ,
Sly & The Family Stone,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.