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 Niger and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Tokyo.
I'm losing my edge to the art-school Edmonton 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the oboe 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 Harpers Bizarre to the rock 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 The Detroit Cobras. All the underground hits.
All Mars tracks. I heard you have a vinyl of every The Buckinghams record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ponytail record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Sparks,
Harpers Bizarre,
New York Dolls,
Funkadelic,
Lalo Schifrin,
Darondo,
China Crisis,
48th St. Collective,
Rosa Yemen,
Gil Scott-Heron and Jamie xx,
The Motions,
Marc Almond,
FM Einheit,
Oneida,
Joy Division,
Slick Rick,
Moebius,
Chris Corsano,
Aaron Thompson,
Yaz,
Simply Red,
Skarface,
Royal Trux,
Oppenheimer Analysis,
The Electric Prunes,
Notorious BIG live in Amsterdam,
Bob Dylan,
Suicide,
David McCallum,
Motorama,
Surgeon,
John Coltrane,
World's Most,
Banda Bassotti,
Loose Ends,
Amazonics,
Red Lorry Yellow Lorry,
Sugar Minott,
Gil Scott Heron,
Clear Light,
The Blues Magoos,
Ajijia Myrayebe,
Ken Boothe,
Steve Hackett,
Minnie Riperton,
DJ Style,
The Sisters of Mercy,
The Trojans,
Scientists,
Quando Quango,
Depeche Mode,
Fort Wilson Riot,
Malaria!,
The Count Five,
Fear,
Mantronix,
Justin Hinds & The Dominoes,
The J.B.'s,
Franke,
Matthew Halsall,
Porter Ricks,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.