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 Somalia and from Philadelphia.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Lyon and Edmonton.
I'm losing my edge to the art-school Bremen 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 güiro 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 Whodini to the funk 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 Faraquet. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
Infiniti,
Yazoo,
Guru Guru,
The Durutti Column,
Japan,
Jandek,
Sexual Harrassment,
Heaven 17,
Tommy Roe,
Joe Finger,
Sonic Youth,
Ornette Coleman,
Section 25,
Bauhaus,
Stiv Bators,
Morten Harket,
Henry Cow,
JFA,
Masters at Work,
Anakelly,
Los Fastidios,
Sun Ra,
Albert Ayler,
The Grass Roots,
Mantronix,
Moss Icon,
Grey Daturas,
Laurel Aitken,
Patti Smith,
Super Lover Cee & Casanova Rud,
Bluetip,
Country Joe & The Fish,
Ponytail,
Cal Tjader,
Pulsallama,
Das Ding,
Metal Thangz,
The Techniques,
The Selecter,
Curtis Mayfield,
Archie Shepp,
Jawbox,
Youth Brigade,
K-Klass,
The West Coast Pop Art Experimental Band,
EPMD,
Ossler,
The Golliwogs,
Eric Copeland,
Little Man,
Sex Pistols,
The Standells,
Terry Callier,
OOIOO,
Tears for Fears,
Bobby Hutcherson,
Intrusion,
The Index,
Magma,
Bang On A Can,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.