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 Liberia 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 1968 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Philadelphia.
I'm losing my edge to the art-school Beijing 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 X-102 to the rap kids.
I played it at Trash.
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 Quando Quango. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Lebanon Hanover record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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 Searchers,
Josef K,
The Seeds,
Erykah Badu,
Deutsch Amerikanische Freundschaft,
Radio Birdman,
Reagan Youth,
Harry Pussy,
Section 25,
Ronan,
Gregory Isaacs,
Camouflage,
Stiv Bators,
Graham Central Station,
Pantytec,
The Sonics,
Rufus Thomas,
Clear Light,
Ornette Coleman,
JFA,
Juan Atkins,
The Trojans,
Gabor Szabo,
The Music Machine,
Eyeless In Gaza,
Jeff Lynne,
Kurtis Blow,
Ossler,
Danielle Patucci,
Gang Gang Dance,
Peter and Kerry,
Scientists,
Country Teasers,
Vainqueur,
Glenn Branca,
Ralphi Rosario,
Shoche,
Alphaville,
Main Source,
Ohio Players,
Art Ensemble Of Chicago,
Lindisfarne,
Swans,
DeepChord presents Echospace,
Robert Hood,
The Star Department,
Chrome,
Quantec,
Royal Trux,
Todd Terry,
Khruangbin,
ABBA,
Electric Light Orchestra,
Isaac Hayes,
Eden Ahbez,
Subhumans,
Warsaw,
The Sisters of Mercy,
The Tremeloes,
Silicon Teens,
Porter Ricks,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.