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 Netherlands and from Hong Kong.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in Hong Kong and Cairo.
I'm losing my edge to the art-school Seoul 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 harpsichord 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 June of 44 to the grunge kids.
I played it at the Troubador.
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 Max Romeo. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Gregory Isaacs 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 chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Mandrill,
Arthur Verocai,
Urselle,
MDC,
Second Layer,
The Selecter,
Rakim,
Fat Boys,
The Monochrome Set,
The Saints,
Bill Wells,
Cymande,
Mark Hollis,
Soul Sonic Force,
Tropical Tobacco,
Prince Buster,
Public Enemy,
Eurythmics,
Rufus Thomas,
Absolute Body Control,
Surgeon,
The Mojo Men,
Deadbeat,
Interpol,
Scientists,
Joe Smooth,
Rosa Yemen,
Minnie Riperton,
The Pop Group,
Freddie Wadling,
Laurel Aitken,
Judy Mowatt,
Gil Scott-Heron and Jamie xx,
Bang On A Can,
The Cure,
Khruangbin,
The Fall,
Kenny Larkin,
Sugar Minott,
Patti Smith,
Hashim,
Echo & the Bunnymen,
Sun City Girls,
Basic Channel,
Vainqueur,
The Flesh Eaters,
Bobby Byrd,
Stockholm Monsters,
Harpers Bizarre,
Delta 5,
David Axelrod,
Fort Wilson Riot,
Electric Prunes,
The Cosmic Jokers,
Fear,
Rekid,
The Last Poets,
Underground Resistance,
Yusef Lateef,
PIL,
The Real Kids, The Real Kids, The Real Kids, The Real Kids.
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.