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 Portugal and from Spokane.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Taipei.
I'm losing my edge to the art-school Toronto 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Joey Negro to the disco kids.
I played it at the Spitz.
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 The Music Machine. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal funk 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 chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joensuu 1685,
Minor Threat,
Procol Harum,
Scratch Acid,
The Dirtbombs,
The Star Department,
Harry Pussy,
Rufus Thomas,
The Trojans,
Ituana,
Matthew Bourne,
The Alarm Clocks,
The Shadows of Knight,
Duran Duran,
The Mojo Men,
T.S.O.L.,
Minutemen,
F. McDonald,
The Velvet Underground,
Magma,
Lou Reed & Metallica,
Saccharine Trust,
Barry Ungar,
Scott Walker + Sunn O))),
Tim Buckley,
Pantytec,
The Count Five,
Qualms,
Tommy Roe,
The Vogues,
The Gories,
Pete Rock & C.L. Smooth,
Delta 5,
The Walker Brothers,
Negative Approach,
Absolute Body Control,
The Litter,
Gary Puckett & The Union Gap,
David Axelrod,
Pole,
Girls At Our Best!,
The Skatalites,
Infiniti,
Ice-T,
Bush Tetras,
Godley & Creme,
Gong,
Barclay James Harvest,
Louis and Bebe Barron,
Subhumans,
This Heat,
Barrington Levy,
Idris Muhammad,
Amon Düül II,
Suburban Knight,
the Swans,
Eve St. Jones,
Technova,
Hashim,
Piero Umiliani,
Mark Hollis,
Andrew Hill,
The Wake, The Wake, The Wake, The Wake.
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.