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 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 1964 to 1975.
I'm losing my edge.
To all the kids in Tehran and Lille.
I'm losing my edge to the art-school Lille 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 808 sounds with much patience.
I was there when Donald Fagen 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 Nils Olav to the jazz kids.
I played it at the 40 Watt.
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 Minutemen. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Erykah Badu record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Organ 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?
The Last Poets,
Desert Stars,
Pete Rock & C.L. Smooth,
Gil Scott-Heron & Brian Jackson,
Minnie Riperton,
Agitation Free,
John Coltrane,
Mary Jane Girls,
Sparks,
Radiopuhelimet,
Selector Dub Narcotic,
The Residents,
Quadrant,
the Germs,
Lou Reed & Metallica,
Thompson Twins,
Radiohead,
Jeff Lynne,
Bobby Byrd,
Neu!,
Unwound,
Con Funk Shun,
Magma,
Mars,
Motorama,
T.S.O.L.,
Soul Sonic Force,
D'Angelo,
The Knickerbockers,
Idris Muhammad,
Fela Kuti,
Monolake,
Lakeside,
48th St. Collective,
Delta 5,
Livin' Joy,
Hasil Adkins,
Bootsy Collins,
The Vogues,
Grandmaster Flash,
Porter Ricks,
The J.B.'s,
New York Dolls,
Glambeats Corp.,
Andrew Ashong & Theo Parrish,
Radio Birdman,
Pierre Henry,
Dark Day,
Stiv Bators,
Liliput,
Index,
Surgeon,
AZ,
The Alarm Clocks,
the Bar-Kays,
Morten Harket,
Crispy Ambulance,
Harmonia,
Peter Gordon & Love of Life Orchestra,
Joe Finger,
Peter and Kerry,
Jerry's Kids,
K-Klass,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.