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 United Kingdom and from Copenhagen.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 Houston.
I'm losing my edge to the art-school Portland 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 güiro sounds with much patience.
I was there when Captain Beefheart 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 Girls At Our Best! to the crunk kids.
I played it at the Crocodile.
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 Brick. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Con Funk Shun 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your snare and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Outsiders,
Throbbing Gristle,
Half Japanese,
Bronski Beat,
Theoretical Girls,
The Toasters,
Nation of Ulysses,
Sam Rivers,
Grandmaster Flash and the Furious Five,
Bang on a Can All-Stars,
Dorothy Ashby,
Radio Birdman,
Funkadelic,
Man Parrish,
Minor Threat,
Joe Finger,
Quadrant,
David Bowie,
Delon & Dalcan,
Pantaleimon,
K-Klass,
Morten Harket,
Mr. Review,
Sunsets and Hearts,
Groovy Waters,
Stereo Dub,
Gian Franco Pienzio,
Josef K,
Vaughan Mason & Crew,
The Busters,
the Association,
Panda Bear,
Erasure,
Television Personalities,
The Doobie Brothers,
PIL,
Kango’s Stein Massive,
Alice Coltrane,
Public Image Ltd.,
Reagan Youth,
David McCallum,
Average White Band,
Rhythm & Sound,
Beasts of Bourbon,
Ornette Coleman,
Fad Gadget,
Metal Thangz,
Pharaoh Sanders and the Fire Engines,
Be Bop Deluxe,
June Days,
The Fugs,
Avey Tare,
Marc Almond,
Infiniti,
Boz Scaggs,
Minnie Riperton,
Soft Cell,
Inner City,
Make Up,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.