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 Belgium and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Woodstock.
I'm losing my edge to the art-school Lagos 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 oboe sounds with much patience.
I was there when Holger Czukay 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 Monks to the rap 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 The Doors. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every Television Personalities 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
The Gladiators,
Smog,
The Moleskins,
Drive Like Jehu,
Fatback Band,
Nils Olav,
Siglo XX,
Faraquet,
The Human League,
Ken Boothe,
The Men They Couldn't Hang,
Gil Scott-Heron & Brian Jackson,
Severed Heads,
Scan 7,
Gichy Dan,
Lalo Schifrin,
Judy Mowatt,
Crash Course in Science,
Lou Reed & John Cale,
Ronan,
Piero Umiliani,
Fort Wilson Riot,
Roy Ayers Ubiquity,
Fugazi,
Hot Snakes,
Kayak,
Tommy Roe,
F. McDonald,
Gerry Rafferty,
Cheater Slicks,
Be Bop Deluxe,
Grandmaster Flash and the Furious Five,
Eric Dolphy,
The Techniques,
Larry & the Blue Notes,
Patti Smith,
Technova,
Adolescents,
Nas,
Easy Going,
DNA,
The New Christs,
Aural Exciters,
Eli Mardock,
James White and The Blacks,
Notorious Big And Bone Thugs,
Kool Moe Dee,
Bobby Sherman,
The Real Kids,
Siouxsie and the Banshees,
ABC,
Accadde A,
Gil Scott-Heron and Jamie xx,
Kerrie Biddell,
The Offenders,
Das Ding,
John Holt,
Blossom Toes,
Monks,
Nick Fraelich,
Todd Rundgren,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.