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 Norway and from Glasgow.
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 1979.
I'm losing my edge.
To all the kids in Spokane and Cairo.
I'm losing my edge to the art-school Portland 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 Unrelated Segments to the dance kids.
I played it at the Troubador.
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 Minnie Riperton. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every Siglo XX record on German import.
I heard that you have a white label of every seminal jazz 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 rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Judy Mowatt,
Lower 48,
Robert Hood,
Ultra Naté,
Jeff Lynne,
The Durutti Column,
Andrew Hill,
E-Dancer,
The Blues Magoos,
X-102,
Oppenheimer Analysis,
Ponytail,
The Saints,
Lonnie Liston Smith,
Mo-Dettes,
Chris & Cosey,
The Doobie Brothers,
Sight & Sound,
The Fall,
The Moody Blues,
Bootsy Collins,
Smog,
the Sonics,
Cecil Taylor,
Yellowson,
Spoonie Gee,
Godley & Creme,
Arthur Verocai,
Wings,
Gabor Szabo,
The Slackers,
Crispy Ambulance,
Minutemen,
Lungfish,
The Beau Brummels,
Country Joe & The Fish,
Bauhaus,
The Gun Club,
CMW,
Stetsasonic,
The Modern Lovers,
Brothers Johnson,
The Pop Group,
Wire,
Cal Tjader,
Lalo Schifrin,
Liaisons Dangereuses,
DJ Sneak,
De La Soul & Jungle Brothers,
A Certain Ratio,
Pantytec,
Ultimate Spinach,
Tom Boy,
The Barracudas,
Boz Scaggs,
Ice-T,
The Standells,
cv313,
Magazine, Magazine, Magazine, Magazine.
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.