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 Lebanon and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Columbus.
I'm losing my edge to the art-school New York 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 mellotron sounds with much patience.
I was there when Lou Reed 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 De La Soul & Jungle Brothers to the techno kids.
I played it at the Hacienda.
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 Bush Tetras. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every Cal Tjader 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Henry Cow,
Lee Hazlewood,
Larry & the Blue Notes,
Unrelated Segments,
Man Parrish,
Orchestral Manoeuvres in the Dark,
Joe Finger,
The Mojo Men,
Flipper,
Index,
Half Japanese,
JFA,
Todd Rundgren,
Radiohead,
Nas,
Archie Shepp,
Jawbox,
Michelle Simonal,
Electric Prunes,
Chrome,
Porter Ricks,
Brick,
F. McDonald,
The Human League,
Godley & Creme,
The Doors,
Joyce Sims,
Sister Nancy,
Banda Bassotti,
Yazoo,
One Last Wish,
In Retrospect,
Fluxion,
Hashim,
Vaughan Mason & Crew,
X-101,
Skaos,
The United States of America,
Kool Moe Dee,
The Music Machine,
Rahsaan Roland Kirk,
Lightning Bolt,
Malaria!,
Agent Orange,
Audionom,
Livin' Joy,
Don Cherry,
Lalann,
Reuben Wilson,
Hasil Adkins,
Sarah Menescal,
The Standells,
Nils Olav,
Swans,
Ralphi Rosario,
B.T. Express,
Interpol,
Terrestrial Tones,
Glenn Branca,
Wasted Youth,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.