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 Sri Lanka and from Tehran.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1977.
I'm losing my edge.
To all the kids in Johannesburg and Lille.
I'm losing my edge to the art-school Manila 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 rhodes 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 Amon Düül II 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 Dorothy Ashby. All the underground hits.
All Tres Demented tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Larry & the Blue Notes record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
Glambeats Corp.,
Beasts of Bourbon,
Funkadelic,
Scion,
Lizzy Mercier Descloux,
Adolescents,
Lyres,
Jawbox,
Aloha Tigers,
OOIOO,
Bootsy Collins,
Fear,
The Kinks,
Marcia Griffiths,
Angels of Light & Akron/Family,
Pharaoh Sanders and the Fire Engines,
The J.B.'s,
The Walker Brothers,
The Toasters,
Carl Craig,
Gabor Szabo,
Quando Quango,
Strawberry Alarm Clock,
Moss Icon,
Kauko Röyhkä ja Narttu,
48th St. Collective,
Girls At Our Best!,
Siglo XX,
FM Einheit,
New York Dolls,
Lonnie Liston Smith,
Rakim,
Section 25,
Gang Gang Dance,
Black Pus,
The Slackers,
Stetsasonic,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
David McCallum,
Matthew Bourne,
Man Eating Sloth,
Desert Stars,
Bobbi Humphrey,
Cabaret Voltaire,
Minor Threat,
It's A Beautiful Day,
The Durutti Column,
Eric Dolphy,
Q and Not U,
Ornette Coleman,
E-Dancer,
Delon & Dalcan,
Gang Starr,
Grey Daturas,
Pere Ubu,
Rod Modell,
Ice-T, Ice-T, Ice-T, Ice-T.
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.