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 Algeria and from Hong Kong.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Bologna.
I'm losing my edge to the art-school Cairo 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 1971 at the first Big Star practice in a loft in Memphis.
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 Eric B and Rakim to the electroclash kids.
I played it at the Troubador.
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 Tropical Tobacco. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Rhythm & Sound 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Sly & The Family Stone,
Minny Pops,
The Walker Brothers,
Boogie Down Productions,
MDC,
Funky Four + One,
The Move,
Fat Boys,
Gang Green,
Depeche Mode,
Ice-T,
It's A Beautiful Day,
Deepchord,
Cal Tjader,
The Wake,
Cluster,
Quadrant,
Blancmange,
Altered Images,
Essential Logic,
Aswad,
Aloha Tigers,
Black Bananas,
Tears for Fears,
Marshall Jefferson,
Dave Gahan,
Ossler,
The Mojo Men,
Mary Jane Girls,
The Young Rascals,
Excepter,
Steve Hackett,
Red Lorry Yellow Lorry,
Pole,
Intrusion,
Pantytec,
48th St. Collective,
Animal Collective,
Arcadia,
Porter Ricks,
Major Organ And The Adding Machine,
Soft Cell,
Drive Like Jehu,
The Raincoats,
Royal Trux,
Barbara Tucker,
Malaria!,
Banda Bassotti,
Rapeman,
Marcia Griffiths,
Andrew Hill,
Rekid,
Man Parrish,
The Fall,
Electric Prunes,
The Associates,
Surgeon,
Newcleus,
The Happenings,
Desert Stars,
One Last Wish, One Last Wish, One Last Wish, One Last Wish.
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.