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 Haiti and from Mumbai.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Bologna and Lyon.
I'm losing my edge to the art-school Manila 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the linndrum 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 Althea and Donna to the electroclash kids.
I played it at the Astoria.
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 Tommy Roe. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every Country Joe & The Fish record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Shoche,
Q65,
The Blackbyrds,
AZ,
48th St. Collective,
Sun Ra,
Pylon,
The Young Rascals,
Black Pus,
Hoover,
The Skatalites,
Oblivians,
Deadbeat,
Beasts of Bourbon,
Japan,
H. Thieme,
Mad Mike,
Bauhaus,
Clear Light,
Peter Gordon & Love of Life Orchestra,
Aloha Tigers,
Eve St. Jones,
Albert Ayler,
Bootsy's Rubber Band,
Kings Of Tomorrow,
Fatback Band,
Flamin' Groovies,
Livin' Joy,
Kas Product,
Public Image Ltd.,
L. Decosne,
Fear,
Franke,
The Fortunes,
Fort Wilson Riot,
U.S. Maple,
Schoolly D,
Bootsy Collins,
Judy Mowatt,
The Star Department,
Anakelly,
Ultravox,
Sam Rivers,
Mo-Dettes,
Agent Orange,
Malaria!,
Harmonia,
Scratch Acid,
Hashim,
Magazine,
Tomorrow,
Kool G Rap & DJ Polo,
Khruangbin,
Deakin,
The Remains,
Liliput,
Piero Umiliani,
The Vogues,
Wighnomy Brothers & Robag Wruhme,
Minnie Riperton,
Silicon Teens, Silicon Teens, Silicon Teens, Silicon Teens.
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.