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 Ukraine and from Tokyo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1977.
I'm losing my edge.
To all the kids in Cairo and Tehran.
I'm losing my edge to the art-school Accra 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 New York Dolls to the rock 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 Drive Like Jehu. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
Echo & the Bunnymen,
Joe Finger,
Big Daddy Kane,
Derrick Morgan,
Wighnomy Brothers & Robag Wruhme,
Girls At Our Best!,
Iggy Pop,
Matthew Bourne,
the Sonics,
Barry Ungar,
Bootsy Collins,
10cc,
The Zeros,
Sight & Sound,
The Victims,
Bob Dylan,
Chris Corsano,
Bronski Beat,
Eric Dolphy,
Deutsch Amerikanische Freundschaft,
Thompson Twins,
The Invisible,
A Certain Ratio,
The Dead C,
Electric Light Orchestra,
Teenage Jesus and the Jerks,
The Kinks,
Surgeon,
Art Ensemble Of Chicago,
Faraquet,
Outsiders,
Fear,
Tubeway Army,
These Immortal Souls,
Cal Tjader,
Tres Demented,
Yusef Lateef,
Reuben Wilson,
Oneida,
Peter and Kerry,
Negative Approach,
Q and Not U,
MC5,
Can,
Fela Kuti,
Ralphi Rosario,
The United States of America,
Dr. Dre and Snoop Doggy Dog,
The Litter,
Ajijia Myrayebe,
Gichy Dan,
Mantronix,
Traffic Nightmare,
Al Stewart,
Radiohead,
Dead Boys,
The Gap Band,
Röyhkä ja Rättö ja Lehtisalo,
Royal Trux,
Tears for Fears,
Wally Richardson,
The Modern Lovers,
The Detroit Cobras,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.