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 Czech Republic and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Milan and Copenhagen.
I'm losing my edge to the art-school Shanghai 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 dance kids.
I played it at the Spitz.
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 The Names. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Vaughan Mason & Crew 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar 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 Index,
The Smoke,
Stetsasonic,
Sandy B,
New Age Steppers,
Lafayette Afro Rock Band,
Loose Ends,
Bauhaus,
Electric Prunes,
Clear Light,
Sad Lovers and Giants,
Jacques Brel,
Average White Band,
the Normal,
Parry Music,
Technova,
Larry & the Blue Notes,
Severed Heads,
Pharoah Sanders,
Liliput,
Bootsy Collins,
This Heat,
David McCallum,
Brick,
The Blackbyrds,
Bizarre Inc.,
Eric Dolphy,
Pole,
Archie Shepp,
OOIOO,
Patti Smith,
Arcadia,
The Fire Engines,
Saccharine Trust,
Deepchord,
Sexual Harrassment,
The Modern Lovers,
48th St. Collective,
Andrew Ashong & Theo Parrish,
Popol Vuh,
The Detroit Cobras,
Shuggie Otis,
Outsiders,
Ituana,
Captain Beefheart & His Magic Band,
MC5,
The Fugs,
Livin' Joy,
Brothers Johnson,
DJ Sneak,
Major Organ And The Adding Machine,
Yellowson,
Delta 5,
Eurythmics,
Deutsch Amerikanische Freundschaft,
Louis and Bebe Barron,
Banda Bassotti,
The United States of America,
Desert Stars,
Oblivians,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.