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 Bosnia Herzegovina and from Stockholm.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Bologna.
I'm losing my edge to the art-school London 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 synthesizer 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 Gap Band to the crunk 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 Judy Mowatt. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
B.T. Express,
the Soft Cell,
Toni Rubio,
Vladislav Delay,
Sexual Harrassment,
Eyeless In Gaza,
Minny Pops,
Matthew Halsall,
John Coltrane,
Excepter,
The Five Americans,
Cheater Slicks,
John Lydon,
Mission of Burma,
Mars,
Brand Nubian,
Ten City,
Kool G Rap & DJ Polo,
Roy Ayers Ubiquity,
Zapp,
The Star Department,
Larry & the Blue Notes,
Sonic Youth,
Parry Music,
Justin Hinds & The Dominoes,
Jeff Mills,
Lonnie Liston Smith,
Sun Ra,
Rakim,
Chrome,
the Germs,
Spandau Ballet,
Gang Starr,
Drexciya,
PIL,
World's Most,
Stetsasonic,
Tears for Fears,
The Victims,
Roger Hodgson,
Bauhaus,
Public Enemy,
Moebius,
Gregory Isaacs,
Freddie Wadling,
Bob Dylan,
Man Eating Sloth,
Bluetip,
The New Christs,
Lightning Bolt,
The Alarm Clocks,
Kool Moe Dee,
Alice Coltrane,
Thompson Twins,
Duran Duran,
The Gladiators,
The Modern Lovers,
Stiv Bators,
Jawbox,
Gang of Four,
Icehouse,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.