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 Malta and from Shanghai.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1966 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Manchester.
I'm losing my edge to the art-school Toronto 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 John Holt to the funk kids.
I played it at Cafe Wha.
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 David Axelrod. All the underground hits.
All Crispy Ambulance 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 electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalo Schifrin,
D'Angelo,
The Detroit Cobras,
The Music Machine,
Sun Ra Arkestra,
Susan Cadogan,
the Human League,
Camouflage,
Ash Ra Tempel,
Harry Pussy,
Eric B and Rakim,
Ronnie Foster,
Jesper Dahlbäck,
Grauzone,
The United States of America,
Nico,
Quando Quango,
The Cramps,
Underground Resistance,
Wally Richardson,
Au Pairs,
Cabaret Voltaire,
Ornette Coleman,
Mantronix,
The Last Poets,
Johnny Osbourne,
The Star Department,
Pantytec,
Stockholm Monsters,
Gang Gang Dance,
The Zeros,
London Community Gospel Choir,
Andrew Ashong & Theo Parrish,
Jawbox,
Bobby Hutcherson,
The Royal Family And The Poor,
OOIOO,
Orchestral Manoeuvres in the Dark,
Pylon,
Hasil Adkins,
Minny Pops,
Sexual Harrassment,
Jacques Brel,
Nils Olav,
Sparks,
ABBA,
Major Organ And The Adding Machine,
Terry Callier,
Circle Jerks,
Sam Rivers,
The Five Americans,
Althea and Donna,
Gil Scott Heron,
The Trojans,
Theoretical Girls,
The Walker Brothers,
Depeche Mode,
Jerry's Kids,
The Mojo Men,
Massinfluence,
Goldenarms,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.