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 Montenegro and from Spokane.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Lagos and Taipei.
I'm losing my edge to the art-school Milan 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 Feelies practice in a loft in Haledon.
I was working on the synthesizer 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 Country Joe & The Fish to the funk kids.
I played it at the 40 Watt.
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 Oneida. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every Quantec record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Cal Tjader,
Sugar Minott,
Aswad,
Vladislav Delay,
Susan Cadogan,
Johnny Clarke,
Shuggie Otis,
Stockholm Monsters,
Tres Demented,
Rufus Thomas,
Wighnomy Brothers & Robag Wruhme,
Eden Ahbez,
The New Christs,
Ultramagnetic MC's,
It's A Beautiful Day,
London Community Gospel Choir,
Prince Buster,
CMW,
The Grass Roots,
Andrew Ashong & Theo Parrish,
The Jesus and Mary Chain,
Camron Feat. Jay Z And Juelz,
Sticky Fingaz feat. Raekwon,
Marc Almond,
the Normal,
Dawn Penn,
Terrestrial Tones,
Ken Boothe,
Silicon Teens,
Con Funk Shun,
Mandrill,
Derrick May,
Juan Atkins,
Kevin Saunderson,
Skaos,
Public Enemy,
Ossler,
The Offenders,
Big Daddy Kane,
Bizarre Inc.,
Khruangbin,
H. Thieme,
Rowland S Howard / Lydia Lunch,
Bob Dylan,
The J.B.'s,
The Evens,
the Human League,
Sun Ra Arkestra,
World's Most,
the Soft Cell,
Grauzone,
Tears for Fears,
Smog,
Altered Images,
The Last Poets,
Bad Manners,
Johnny Osbourne,
Tommy Roe,
Ludus,
Orchestral Manoeuvres in the Dark,
Faraquet,
Anakelly, Anakelly, Anakelly, Anakelly.
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.