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 France and from New York.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Manchester and Toronto.
I'm losing my edge to the art-school Spokane 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Connie Case to the grime kids.
I played it at CBGB's.
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 E-Dancer. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
The Toasters,
Minnie Riperton,
Procol Harum,
Cheater Slicks,
LL Cool J,
The Fugs,
Smog,
Arab on Radar,
Beasts of Bourbon,
Warsaw,
Lou Reed & Metallica,
Los Fastidios,
A Certain Ratio,
The Young Rascals,
Lou Reed,
Flipper,
Public Image Ltd.,
Aloha Tigers,
Crispy Ambulance,
Brass Construction,
Mission of Burma,
Rakim,
Mandrill,
FM Einheit,
Marvin Gaye,
Mad Mike,
Camron Feat. Jay Z And Juelz,
Easy Going,
Skaos,
Scan 7,
Avey Tare & Kría Brekkan,
Spandau Ballet,
Television,
Outsiders,
Morten Harket,
Magazine,
The Trojans,
David Bowie,
Panda Bear,
Johnny Osbourne,
Hardrive,
Todd Terry,
Crispian St. Peters,
Pet Shop Boys,
Goldenarms,
Supertramp,
Deepchord,
Sight & Sound,
Roy Ayers Ubiquity,
Major Organ And The Adding Machine,
Gichy Dan,
Electric Light Orchestra,
Rahsaan Roland Kirk,
Eden Ahbez,
Stockholm Monsters,
Maleditus Sound,
Radio Birdman,
Ash Ra Tempel,
Oblivians,
Brand Nubian,
Steve Hackett,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.