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 Honduras and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Toronto and Halifax.
I'm losing my edge to the art-school Bologna 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 snare sounds with much patience.
I was there when Michael McDonald 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 Moody Blues 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 Fela Kuti. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Jesper Dahlbäck,
Icehouse,
Archie Shepp,
Radiopuhelimet,
Urselle,
Country Joe & The Fish,
The Mighty Diamonds,
Röyhkä ja Rättö ja Lehtisalo,
Bootsy Collins,
Masters at Work,
Josef K,
Joey Negro,
Mr. Review,
Duran Duran,
Liliput,
Zero Boys,
Suburban Knight,
Dawn Penn,
Gil Scott-Heron & Brian Jackson,
The West Coast Pop Art Experimental Band,
London Community Gospel Choir,
Charles Mingus,
The Flesh Eaters,
Lou Reed,
The Star Department,
Roxette,
Roger Hodgson,
Teenage Jesus and the Jerks,
MDC,
Pylon,
Faust,
Ultramagnetic MC's,
The Pop Group,
Marmalade,
Skaos,
Wally Richardson,
The Evens,
Aural Exciters,
Rhythm & Sound,
Notorious Big And Bone Thugs,
Cybotron,
Dark Day,
Das Ding,
Rosa Yemen,
Sister Nancy,
Justin Hinds & The Dominoes,
Pharoah Sanders,
Jerry's Kids,
Louis and Bebe Barron,
Absolute Body Control,
Be Bop Deluxe,
Sam Rivers,
Nas,
Soft Cell,
Pete Rock & C.L. Smooth,
Brick,
Vaughan Mason & Crew,
Kauko Röyhkä ja Narttu,
Matthew Halsall,
Throbbing Gristle,
The Residents,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.