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 Venezuela and from Calgary.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Manchester.
I'm losing my edge to the art-school Delhi 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 guitar 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 The Walker Brothers to the crunk kids.
I played it at the Crocodile.
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 Ten City. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal rap 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 an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Lou Christie record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Style,
Rufus Thomas,
X-102,
The Barracudas,
Deadbeat,
Half Japanese,
Model 500,
Marine Girls,
The Vogues,
Maleditus Sound,
Sun Ra,
Faust,
Khruangbin,
The Count Five,
Sticky Fingaz feat. Raekwon,
Rakim,
The Dirtbombs,
Yellowson,
The Residents,
Wire,
Aloha Tigers,
Audionom,
Crispian St. Peters,
The Neon Judgement,
The American Breed,
Jandek,
Q and Not U,
Pet Shop Boys,
Jacques Brel,
Lou Christie,
Kauko Röyhkä ja Narttu,
Echo & the Bunnymen,
LL Cool J,
Organ,
Minnie Riperton,
Unrelated Segments,
Eve St. Jones,
Groovy Waters,
The Seeds,
Tom Boy,
Roy Ayers Ubiquity,
Lou Reed,
Main Source,
Rapeman,
Bobby Byrd,
EPMD,
Idris Muhammad,
Porter Ricks,
Henry Cow,
Hoover,
KRS-One,
Goldenarms,
Von Mondo,
The Remains,
Zero Boys,
Robert Görl,
Peter and Kerry,
Sam Rivers,
Lindisfarne,
Marvin Gaye,
Bootsy Collins,
Aswad,
The Black Dice,
Ituana, Ituana, Ituana, Ituana.
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.