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 Uzbekistan and from Lyon.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1966 to 1973.
I'm losing my edge.
To all the kids in Calgary and Glasgow.
I'm losing my edge to the art-school Sao Paulo 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 guitar sounds with much patience.
I was there when Lou Reed 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 Soft Cell to the electroclash 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 Captain Beefheart & His Magic Band. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Mars record on German import.
I heard that you have a white label of every seminal electroclash 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 marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jesper Dahlbäck,
Donald Byrd,
The Count Five,
Black Bananas,
Bootsy Collins,
Robert Hood,
Siglo XX,
the Association,
Lindisfarne,
June of 44,
Notorious Big And Bone Thugs,
Kerrie Biddell,
The Star Department,
Soft Cell,
Gichy Dan,
Jeru the Damaja,
Robert Wyatt,
The Residents,
Outsiders,
Hardrive,
Smog,
Sister Nancy,
Angry Samoans,
48th St. Collective,
Liliput,
Kango’s Stein Massive,
The Alarm Clocks,
The Gap Band,
Howard Jones,
Cameo,
Larry & the Blue Notes,
Essential Logic,
World's Most,
Glambeats Corp.,
Lou Christie,
Kayak,
Sun Ra Arkestra,
Public Image Ltd.,
Todd Terry,
Boz Scaggs,
Kings Of Tomorrow,
Gary Puckett & The Union Gap,
The Misunderstood,
Unwound,
James White and The Blacks,
Half Japanese,
Judy Mowatt,
Visionaries,LMNO, T- Love & Iriscience,
Crispy Ambulance,
Sun Ra,
Bobby Byrd,
The Remains,
Todd Rundgren,
Quadrant,
Ken Boothe,
Joensuu 1685,
Dorothy Ashby,
The Index,
David Axelrod,
Kas Product,
T.S.O.L.,
Rakim, Rakim, Rakim, Rakim.
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.