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 Nauru and from Bologna.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Lyon and Milan.
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 mellotron 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 Index to the rock kids.
I played it at the Roxy.
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 Moss Icon. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Ohio Players,
The Wake,
Zapp,
The Gun Club,
Kerrie Biddell,
Radiopuhelimet,
Young Marble Giants,
Strawberry Alarm Clock,
Index,
Scratch Acid,
Cymande,
Skaos,
Moby Grape,
Magazine,
The Pop Group,
Justin Hinds & The Dominoes,
Kool Moe Dee,
Joensuu 1685,
World's Most,
Ornette Coleman,
Rekid,
Yazoo,
James White and The Blacks,
John Foxx,
Eden Ahbez,
Khruangbin,
LL Cool J,
Sunsets and Hearts,
The Knickerbockers,
Bob Dylan,
Robert Wyatt,
Youth Brigade,
Mo-Dettes,
The Cramps,
The Leaves,
Selector Dub Narcotic,
Oppenheimer Analysis,
Cecil Taylor,
Minny Pops,
Albert Ayler,
Average White Band,
Tears for Fears,
Rowland S Howard / Lydia Lunch,
The Peanut Butter Conspiracy,
Radiohead,
Alton Ellis,
Ralphi Rosario,
Kool G Rap & DJ Polo,
Wally Richardson,
Malaria!,
Deadbeat,
John Holt,
Fat Boys,
Camberwell Now,
Q and Not U,
Freddie Wadling,
The Gap Band,
Erasure,
David McCallum,
James Chance & The Contortions,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.