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 Monaco and from Spokane.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Mexico City.
I'm losing my edge to the art-school Lagos 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 chamberlin 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 Juan Atkins to the techno kids.
I played it at the Astoria.
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 Idris Muhammad. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every New Age Steppers record on German import.
I heard that you have a white label of every seminal disco 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 chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Cymande record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
New Age Steppers,
The Red Krayola,
Jesper Dahlbäck,
Gang of Four,
Larry & the Blue Notes,
Minutemen,
Lou Reed & John Cale,
Roger Hodgson,
Marcia Griffiths,
Johnny Clarke,
Ultra Naté,
Unwound,
Slick Rick,
Electric Light Orchestra,
Aswad,
Royal Trux,
Colin Newman,
Model 500,
Outsiders,
Bobby Byrd,
Wings,
Be Bop Deluxe,
The Stooges,
Matthew Bourne,
Von Mondo,
The Victims,
Sugar Minott,
Echospace,
Kerrie Biddell,
Rhythim Is Rhythim,
Bauhaus,
Eddi Front,
Louis and Bebe Barron,
Ornette Coleman,
Lucky Dragons,
Harpers Bizarre,
the Fania All-Stars,
Throbbing Gristle,
Black Pus,
Interpol,
Con Funk Shun,
Camouflage,
Drive Like Jehu,
The Sound,
Robert Hood,
Lyres,
The Gap Band,
Loose Ends,
LL Cool J,
Crispian St. Peters,
Peter and Kerry,
Nas,
Bobby Hutcherson,
June Days,
The Men They Couldn't Hang,
Niagra,
Babytalk,
Ralphi Rosario,
The Alarm Clocks,
Excepter,
Crispy Ambulance,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.