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 Korea South and from Cairo.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Sao Paulo.
I'm losing my edge to the art-school Manchester 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Grass Roots to the electroclash kids.
I played it at the Crocodile.
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 Robert Hood. All the underground hits.
All Index tracks. I heard you have a vinyl of every Pantaleimon record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
The Five Americans,
The Wake,
Sun Ra,
Isaac Hayes,
Chris Corsano,
Anthony Braxton,
Metal Thangz,
Kas Product,
Fort Wilson Riot,
John Coltrane,
The Litter,
Notorious Big And Bone Thugs,
Girls At Our Best!,
The Alarm Clocks,
DJ Sneak,
F. McDonald,
Fluxion,
The Barracudas,
The Doobie Brothers,
Depeche Mode,
The Cramps,
Con Funk Shun,
Scion,
Quadrant,
Throbbing Gristle,
John Lydon,
Lonnie Liston Smith,
Infiniti,
Rufus Thomas,
Glambeats Corp.,
The Evens,
Matthew Halsall,
Shuggie Otis,
David Axelrod,
The Pretty Things,
The J.B.'s,
Essential Logic,
Los Fastidios,
Blossom Toes,
Marmalade,
Beasts of Bourbon,
Gong,
Prince Buster,
The Cure,
The Move,
Bootsy's Rubber Band,
Notorious BIG live in Amsterdam,
Angels of Light & Akron/Family,
The Shadows of Knight,
Adolescents,
Panda Bear,
Marc Romboy vs. Booka Shade,
Public Enemy,
Derrick Morgan,
Sixth Finger,
Cybotron,
Bootsy Collins,
Ken Boothe,
This Heat,
Bauhaus,
Wolf Eyes,
Cecil Taylor,
The Toasters, The Toasters, The Toasters, The Toasters.
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.