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 Tuvalu and from Beijing.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Houston and Hong Kong.
I'm losing my edge to the art-school Calgary 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 Chic practice in a loft in New York.
I was working on the clarinet sounds with much patience.
I was there when Nile Rodgers 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 Germs to the dance 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 Delon & Dalcan. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every One Last Wish record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Kinks record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Siouxsie and the Banshees,
Metal Thangz,
Byron Stingily,
Orchestral Manoeuvres in the Dark,
Albert Ayler,
ABC,
The Gap Band,
Frankie Knuckles,
Archie Shepp,
Shuggie Otis,
Popol Vuh,
Black Sheep,
A Certain Ratio,
The Fuzztones,
Lindisfarne,
Marc Almond,
Essential Logic,
Unrelated Segments,
Scott Walker,
The United States of America,
Deakin,
Ornette Coleman,
Faust,
Whodini,
Stiv Bators,
Sly & The Family Stone,
Television,
AZ,
Skaos,
The Knickerbockers,
48th St. Collective,
Sexual Harrassment,
Harpers Bizarre,
Dark Day,
The Pop Group,
Nick Cave & The Bad Seeds,
Roy Ayers Ubiquity,
Index,
Goldenarms,
Depeche Mode,
Thinking Fellers Union Local 282,
The Fire Engines,
The Remains,
Johnny Clarke,
Janne Schatter,
Ultra Naté,
Sunsets and Hearts,
Chris Corsano,
Kenny Larkin,
Cecil Taylor,
The Gun Club,
Yaz,
Brothers Johnson,
Kurtis Blow,
Dorothy Ashby,
The Smoke,
In Retrospect,
Rakim,
Louis and Bebe Barron,
A Flock of Seagulls,
Cabaret Voltaire,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.