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 Sierra Leone and from Bremen.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Manchester and Manchester.
I'm losing my edge to the art-school Portland 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the sitar 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 David McCallum to the funk 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 Avey Tare & Kría Brekkan. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal dance 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 guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
Rhythm & Sound,
Roxette,
Oblivians,
Ken Boothe,
the Normal,
Bluetip,
Frankie Knuckles,
Graham Central Station,
Boogie Down Productions,
Josef K,
Bobby Womack,
Slick Rick,
Grandmaster Flash and the Furious Five,
Ponytail,
Public Enemy,
Nas,
Lakeside,
Derrick May,
Brick,
Fat Boys,
Symarip,
Banda Bassotti,
Technova,
These Immortal Souls,
MC5,
Kas Product,
Bobbi Humphrey,
Pole,
Black Flag,
Yusef Lateef,
The Velvet Underground,
UT,
Roger Hodgson,
Rufus Thomas,
Soul II Soul,
10cc,
Harpers Bizarre,
Scientists,
Robert Wyatt,
Wings,
Quantec,
Surgeon,
Sound Behaviour,
Neu!,
Wighnomy Brothers & Robag Wruhme,
Stereo Dub,
Robert Görl,
Ultimate Spinach,
U.S. Maple,
Hashim,
H. Thieme,
Gang Green,
Skaos,
Cybotron,
Pulsallama,
Cameo,
The Fire Engines,
Altered Images,
Sarah Menescal,
Sam Rivers,
Traffic Nightmare,
Dead Boys,
Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap.
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.