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 San Marino and from Milan.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Mexico City and London.
I'm losing my edge to the art-school Lagos 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 New York Dolls to the rap 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 David Axelrod. All the underground hits.
All Carl Craig tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Half Japanese,
48th St. Collective,
Juan Atkins,
Joey Negro,
Barclay James Harvest,
Zero Boys,
Bizarre Inc.,
The Star Department,
The Blues Magoos,
David Axelrod,
Donald Byrd,
One Last Wish,
The Chocolate Watch Band,
Porter Ricks,
Maurizio,
Wire,
Brick,
Harpers Bizarre,
This Heat,
Infiniti,
Arthur Verocai,
Fatback Band,
Jacob Miller,
Stetsasonic,
Sixth Finger,
The Human League,
The Cosmic Jokers,
Soft Machine,
Deutsch Amerikanische Freundschaft,
Panda Bear,
Bobby Womack,
Essential Logic,
MDC,
Joensuu 1685,
Ronnie Foster,
Janne Schatter,
The Peanut Butter Conspiracy,
Aloha Tigers,
Black Moon,
Accadde A,
The Leaves,
Kerrie Biddell,
Lightning Bolt,
Pussy Galore,
Audionom,
Gang Green,
Crash Course in Science,
Gregory Isaacs,
Alice Coltrane,
R.M.O.,
Electric Prunes,
the Soft Cell,
Alphaville,
The West Coast Pop Art Experimental Band,
Robert Görl,
Bill Near,
Rod Modell,
Gil Scott-Heron and Jamie xx,
Surgeon,
Saccharine Trust,
China Crisis, China Crisis, China Crisis, China Crisis.
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.