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 Moldova and from Manchester.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Cairo and Halifax.
I'm losing my edge to the art-school Philadelphia 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 Zapp practice in a loft in Hamilton.
I was working on the chamberlin 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 Rahsaan Roland Kirk to the jazz 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 Roxette. All the underground hits.
All Qualms tracks. I heard you have a vinyl of every Hot Snakes 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet 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 Move,
Fort Wilson Riot,
Porter Ricks,
Flipper,
Be Bop Deluxe,
Section 25,
Khruangbin,
The Divine Comedy,
The Seeds,
The Detroit Cobras,
Wire,
Country Joe & The Fish,
Röyhkä ja Rättö ja Lehtisalo,
Alphaville,
the Bar-Kays,
Can,
Al Stewart,
Kevin Saunderson,
the Swans,
Roxette,
Severed Heads,
Alison Limerick,
Liliput,
Icehouse,
Bang on a Can All-Stars,
Red Lorry Yellow Lorry,
Barry Ungar,
Ronnie Foster,
Reagan Youth,
Desert Stars,
Quantec,
The Mojo Men,
Chris Corsano,
Peter Gordon & Love of Life Orchestra,
Sight & Sound,
Ornette Coleman,
Camouflage,
Main Source,
Chrome,
Justin Hinds & The Dominoes,
Scientists,
Sun Ra Arkestra,
Soulsonic Force,
Technova,
Intrusion,
Jimmy McGriff,
The Leaves,
The Dave Clark Five,
James White and The Blacks,
Neu!,
a-ha,
The Motions,
Idris Muhammad,
The Golliwogs,
Alice Coltrane,
Ralphi Rosario,
Rhythm & Sound,
Agitation Free,
Fear,
Loose Ends,
Pere Ubu,
Ken Boothe,
Banda Bassotti,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.