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 Equatorial Guinea and from Copenhagen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1976.
I'm losing my edge.
To all the kids in London and Calgary.
I'm losing my edge to the art-school Houston 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 synthesizer 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 Zapp to the rap kids.
I played it at the Hacienda.
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 Lonnie Liston Smith. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every This Heat 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Five Americans record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
Oppenheimer Analysis,
Cal Tjader,
Sarah Menescal,
Heaven 17,
the Fania All-Stars,
The Walker Brothers,
Television Personalities,
Country Joe & The Fish,
Dr. Dre and Snoop Doggy Dog,
Darondo,
Hashim,
Roxette,
Gang Green,
Althea and Donna,
Moby Grape,
The New Christs,
Sun Ra,
Urselle,
Soul II Soul,
Thinking Fellers Union Local 282,
Zapp,
Magazine,
The Pop Group,
Porter Ricks,
Patti Smith,
Art Ensemble Of Chicago,
Traffic Nightmare,
Y Pants,
Oneida,
Bad Manners,
Chris & Cosey,
Hot Snakes,
Deepchord,
Thee Headcoats,
The Techniques,
Pole,
Von Mondo,
Rites of Spring,
Jesper Dahlback,
Symarip,
Super Lover Cee & Casanova Rud,
Terrestrial Tones,
Black Moon,
Teenage Jesus and the Jerks,
Pharoah Sanders,
N.O.R.E. Featuring Pharrell,
Negative Approach,
Whodini,
X-101,
Smog,
Mark Hollis,
Gang Starr,
Tropical Tobacco,
Marc Almond,
The Flesh Eaters,
Nik Kershaw,
New York Dolls,
UT,
The Cramps, The Cramps, The Cramps, The Cramps.
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.