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 Vietnam and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1972.
I'm losing my edge.
To all the kids in London and New York.
I'm losing my edge to the art-school Mumbai 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 linndrum 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 Bad Manners to the crunk kids.
I played it at CBGB's.
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 Kevin Saunderson. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every The Black Dice record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department 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?
Delta 5,
Maurizio,
The Index,
Davy DMX,
Kango’s Stein Massive,
OOIOO,
Sam Rivers,
Pere Ubu,
Agent Orange,
Sandy B,
Blancmange,
Television,
the Association,
Angels of Light & Akron/Family,
Fifty Foot Hose,
Subhumans,
It's A Beautiful Day,
The Sound,
The Busters,
Easy Going,
The Gap Band,
MC5,
Dave Gahan,
8 Eyed Spy,
Dark Day,
Eli Mardock,
Nirvana,
Dawn Penn,
Aural Exciters,
Glambeats Corp.,
Sonny Sharrock,
Bobby Hutcherson,
Public Image Ltd.,
Juan Atkins,
UT,
The Grass Roots,
The Dead C,
Yellowson,
Shoche,
The Doors,
the Fania All-Stars,
a-ha,
Ultra Naté,
Fatback Band,
Ralphi Rosario,
Marc Romboy vs. Booka Shade,
Tom Boy,
Grey Daturas,
Pharoah Sanders,
the Slits,
Jeru the Damaja,
Thompson Twins,
Heavy D & The Boyz,
Tim Buckley,
Icehouse,
Cecil Taylor,
Morten Harket,
Scan 7,
Sad Lovers and Giants,
The Leaves,
Connie Case,
Malaria!,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.