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 Uzbekistan and from Manila.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
I'm losing my edge to the art-school Glasgow 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 808 sounds with much patience.
I was there when Michael McDonald 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 the Sonics to the disco 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 U.S. Maple. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Gil Scott Heron,
Whodini,
Sarah Menescal,
Public Image Ltd.,
Jeff Mills,
Bang on a Can All-Stars,
Swell Maps,
Manfred Mann's Earth Band,
These Immortal Souls,
June Days,
Michelle Simonal,
Glenn Branca,
Young Marble Giants,
Oblivians,
The Beau Brummels,
Yellowson,
Ronan,
Tim Buckley,
Ralphi Rosario,
Marine Girls,
Con Funk Shun,
Cybotron,
Al Stewart,
Matthew Bourne,
Monolake,
Robert Wyatt,
Ohio Players,
Procol Harum,
UT,
The Five Americans,
R.M.O.,
Peter and Kerry,
Fifty Foot Hose,
MDC,
Gregory Isaacs,
Echo & the Bunnymen,
Throbbing Gristle,
Agitation Free,
DNA,
Lee Hazlewood,
Tears for Fears,
The Victims,
Eric Dolphy,
New Order,
Orchestral Manoeuvres in the Dark,
The Dead C,
Thee Headcoats,
Girls At Our Best!,
Captain Beefheart & His Magic Band,
Warsaw,
Piero Umiliani,
Bobby Womack,
Crispy Ambulance,
Siglo XX,
Eric B and Rakim,
DJ Style,
Erykah Badu,
Idris Muhammad,
The Happenings,
Easy Going,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.