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 Ivory Coast and from Beijing.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Copenhagen.
I'm losing my edge to the art-school Manila 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the harpsichord 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 Dark Day to the dance kids.
I played it at the Roxy.
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 Janne Schatter. All the underground hits.
All Simply Red tracks. I heard you have a vinyl of every Barrington Levy 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Monks record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Scott Walker,
The Techniques,
Trumans Water,
The Gap Band,
the Slits,
Justin Hinds & The Dominoes,
Idris Muhammad,
The Last Poets,
Fluxion,
The Offenders,
John Lydon,
Harmonia,
Barclay James Harvest,
Jacques Brel,
Bill Wells,
LL Cool J,
EPMD,
The Slackers,
Excepter,
Reagan Youth,
Notorious BIG live in Amsterdam,
Ludus,
The New Christs,
The Victims,
Severed Heads,
Rapeman,
the Fania All-Stars,
Kauko Röyhkä ja Narttu,
Jawbox,
Radiohead,
Barry Ungar,
Steve Hackett,
The Cure,
Vaughan Mason & Crew,
Spandau Ballet,
Sun Ra Arkestra,
Johnny Osbourne,
Kings Of Tomorrow,
Carl Craig,
Deutsch Amerikanische Freundschaft,
Roxy Music,
Gong,
Pantytec,
Lafayette Afro Rock Band,
Monks,
Sällskapet,
The Searchers,
Aural Exciters,
The Dave Clark Five,
Art Ensemble Of Chicago,
China Crisis,
Soft Machine,
Dead Boys,
The Standells,
Kango’s Stein Massive,
Kerrie Biddell,
Dorothy Ashby,
The Misunderstood,
Moby Grape,
Boredoms, Boredoms, Boredoms, Boredoms.
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.