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 Saudi Arabia and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Tehran and Paris.
I'm losing my edge to the art-school Halifax 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 Donald Fagen 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 Urselle to the rap 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 Ossler. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every Harpers Bizarre record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Chrome record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Susan Cadogan,
Avey Tare,
Bobby Womack,
Supertramp,
Teenage Jesus and the Jerks,
Skaos,
Rakim,
Bobby Sherman,
Gong,
Alphaville,
Marvin Gaye,
the Fania All-Stars,
Amazonics,
Hasil Adkins,
The Young Rascals,
Adolescents,
Joey Negro,
Q65,
Blancmange,
Brick,
Gerry Rafferty,
Chrome,
Steve Hackett,
Roy Ayers Ubiquity,
Country Joe & The Fish,
Mr. Review,
Schoolly D,
Scrapy,
Crooked Eye,
Warsaw,
Joe Smooth,
Kerrie Biddell,
Tropical Tobacco,
Panda Bear,
Tomorrow,
Yellowson,
Amon Düül II,
Crispian St. Peters,
The Jesus and Mary Chain,
ABC,
A Flock of Seagulls,
Urselle,
Notorious BIG live in Amsterdam,
Roy Ayers,
Janne Schatter,
Black Bananas,
The Kinks,
Nico,
Swell Maps,
Funkadelic,
Yaz,
The Shadows of Knight,
Strawberry Alarm Clock,
Livin' Joy,
Super Lover Cee & Casanova Rud,
Kerri Chandler,
Radiopuhelimet,
Rod Modell,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Tom Boy,
The Detroit Cobras,
Letta Mbulu,
F. McDonald, F. McDonald, F. McDonald, F. McDonald.
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.