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 Nigeria and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Lille and Hong Kong.
I'm losing my edge to the art-school Houston 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 organ 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 Aural Exciters to the funk kids.
I played it at the 40 Watt.
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 Franke. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal rap 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 synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Janne Schatter,
The Sound,
Alison Limerick,
The Jesus and Mary Chain,
Scan 7,
Qualms,
Marvin Gaye,
Motorama,
Notorious BIG live in Amsterdam,
Drexciya,
Lightning Bolt,
The Residents,
Major Organ And The Adding Machine,
Basic Channel,
Derrick Morgan,
The United States of America,
The Wake,
Blake Baxter,
The Seeds,
Echo & the Bunnymen,
F. McDonald,
Robert Wyatt,
Los Fastidios,
Nation of Ulysses,
David McCallum,
E-Dancer,
The Count Five,
Peter & Gordon,
Orchestral Manoeuvres in the Dark,
Lungfish,
KRS-One,
Derrick May,
Kayak,
New York Dolls,
Dorothy Ashby,
Wire,
Roy Ayers Ubiquity,
Amazonics,
X-Ray Spex,
Faraquet,
Crispian St. Peters,
Gang Green,
Bobby Womack,
DNA,
Eric Copeland,
Delon & Dalcan,
Rowland S Howard / Lydia Lunch,
The Moleskins,
A Certain Ratio,
Subhumans,
Harpers Bizarre,
Ultravox,
Wighnomy Brothers & Robag Wruhme,
Glenn Branca,
Parry Music,
Brand Nubian,
Make Up,
Monks,
JFA,
Anthony Braxton,
Scott Walker,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.