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 Palau and from Portland.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Glasgow.
I'm losing my edge to the art-school Beijing 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 spring reverb 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 Lebanon Hanover to the rap kids.
I played it at the Spitz.
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 Massinfluence. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every David Bowie record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Rotary Connection record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Jimmy McGriff,
The Stooges,
KRS-One,
DNA,
the Slits,
Interpol,
48th St. Collective,
Terry Callier,
The Tremeloes,
Don Cherry,
Lindisfarne,
Fifty Foot Hose,
One Last Wish,
Hoover,
Rakim,
The Cure,
Soul Sonic Force,
Max Romeo,
Mo-Dettes,
Saccharine Trust,
Bad Manners,
Delta 5,
The Music Machine,
Gerry Rafferty,
Girls At Our Best!,
Isaac Hayes,
Fat Boys,
Derrick Morgan,
Schoolly D,
Blancmange,
Accadde A,
Chrome,
Oppenheimer Analysis,
Suicide,
Howard Jones,
New York Dolls,
Jeff Mills,
Nas,
Amon Düül II,
Gary Puckett & The Union Gap,
Swell Maps,
Silicon Teens,
Fugazi,
The Seeds,
De La Soul & Jungle Brothers,
Radiopuhelimet,
Kas Product,
Cabaret Voltaire,
The Walker Brothers,
These Immortal Souls,
Reagan Youth,
Minutemen,
Smog,
Gregory Isaacs,
Rhythim Is Rhythim,
Laurel Aitken,
Eyeless In Gaza,
Fad Gadget,
Mantronix,
Rod Modell,
Chris Corsano,
Bush Tetras,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.