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 Rwanda and from Stockholm.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1971.
I'm losing my edge.
To all the kids in Mexico City and Manchester.
I'm losing my edge to the art-school Seoul 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 guitar 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 The Pop Group to the funk kids.
I played it at the Astoria.
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 Porter Ricks. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every Steve Hackett 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 '70s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Electric Prunes,
Glambeats Corp.,
The Skatalites,
Wolf Eyes,
Index,
Soulsonic Force,
Moss Icon,
Y Pants,
Erasure,
The Dead C,
Schoolly D,
Masters at Work,
Bobby Womack,
T. Rex,
Guru Guru,
Cecil Taylor,
Oppenheimer Analysis,
The Blackbyrds,
Super Lover Cee & Casanova Rud,
Make Up,
PIL,
Bill Wells,
John Lydon,
Black Moon,
Lightning Bolt,
Ultramagnetic MC's,
The Red Krayola,
Excepter,
Hot Snakes,
The Golliwogs,
Lou Reed & John Cale,
Gabor Szabo,
Nick Cave & The Bad Seeds,
Joe Smooth,
Electric Light Orchestra,
Banda Bassotti,
Bang On A Can,
The Chocolate Watch Band,
Infiniti,
Marvin Gaye,
In Retrospect,
One Last Wish,
F. McDonald,
Pierre Henry,
Siglo XX,
Curtis Mayfield,
Kauko Röyhkä ja Narttu,
Matthew Bourne,
Half Japanese,
Camberwell Now,
The Tremeloes,
Basic Channel,
The Residents,
The Gladiators,
Cluster,
The Zeros,
Fatback Band,
Scrapy,
a-ha,
Can,
Boz Scaggs,
Pylon, Pylon, Pylon, Pylon.
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.