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 Guatemala and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Accra and Mexico City.
I'm losing my edge to the art-school Tokyo 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 rhodes 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 Gary Puckett & The Union Gap to the dance kids.
I played it at Cafe Wha.
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 David Axelrod. All the underground hits.
All Kauko Röyhkä ja Narttu tracks. I heard you have a vinyl of every Roger Hodgson record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your oboe and bought a snare.
I hear that you and your band have sold your snare and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Monks,
Sarah Menescal,
Ludus,
Massinfluence,
Dorothy Ashby,
Faraquet,
Man Parrish,
Gong,
The Jesus and Mary Chain,
The Moody Blues,
Radio Birdman,
F. McDonald,
Sandy B,
Amon Düül,
Livin' Joy,
Rhythm & Sound,
Darondo,
Fort Wilson Riot,
Lakeside,
Vaughan Mason & Crew,
Soft Cell,
Banda Bassotti,
Surgeon,
Roy Ayers,
Kaleidoscope,
This Heat,
Avey Tare,
Can,
X-101,
Gang Green,
Marvin Gaye,
Richard Hell and the Voidoids,
Little Man,
Letta Mbulu,
Subhumans,
Sugar Minott,
Isaac Hayes,
The Names,
Model 500,
the Sonics,
Sun City Girls,
Max Romeo,
Lebanon Hanover,
Colin Newman,
Marmalade,
John Coltrane,
Half Japanese,
Ohio Players,
Negative Approach,
Tom Boy,
The Men They Couldn't Hang,
The Selecter,
Eric Copeland,
Barry Ungar,
Moby Grape,
Reuben Wilson,
Bobbi Humphrey,
Terrestrial Tones,
Major Organ And The Adding Machine,
Rhythim Is Rhythim,
OOIOO, OOIOO, OOIOO, OOIOO.
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.