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 Mexico and from Philadelphia.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Bremen.
I'm losing my edge to the art-school Salvador 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 oboe sounds with much patience.
I was there when Donald Fagen 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 The Cosmic Jokers to the dance 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 Con Funk Shun. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Ultra Naté record on German import.
I heard that you have a white label of every seminal dance 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 snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Residents,
Oppenheimer Analysis,
Severed Heads,
Dark Day,
Nation of Ulysses,
James White and The Blacks,
Larry & the Blue Notes,
Pantytec,
Circle Jerks,
Fear,
Barclay James Harvest,
K-Klass,
Morten Harket,
It's A Beautiful Day,
Tubeway Army,
Terry Callier,
Eyeless In Gaza,
June Days,
Excepter,
Swans,
Newcleus,
Alison Limerick,
Minny Pops,
Nick Cave & The Bad Seeds,
Liaisons Dangereuses,
Dorothy Ashby,
Kevin Saunderson,
A Flock of Seagulls,
Ultravox,
Cheater Slicks,
The Fortunes,
Bobby Hutcherson,
The Skatalites,
Pierre Henry,
Boogie Down Productions,
Rapeman,
Thee Headcoats,
Crispian St. Peters,
Bill Near,
Yaz,
Matthew Halsall,
Adolescents,
The Mojo Men,
Yellowson,
The Divine Comedy,
Motorama,
Frankie Knuckles,
Cybotron,
Mandrill,
David Axelrod,
The Index,
Max Romeo,
Siglo XX,
Crooked Eye,
Echo & the Bunnymen,
Rakim,
Jimmy McGriff,
The Moleskins,
Röyhkä ja Rättö ja Lehtisalo,
Warsaw,
The Sound,
Y Pants,
Lightning Bolt, Lightning Bolt, Lightning Bolt, Lightning Bolt.
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.