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 Pakistan and from Copenhagen.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Manchester and Mumbai.
I'm losing my edge to the art-school Milan 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet sounds with much patience.
I was there when Tom Verlaine 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 Gerry Rafferty to the techno 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 The Pop Group. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Outsiders record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Robert Wyatt,
R.M.O.,
The Count Five,
CMW,
the Sonics,
Los Fastidios,
The Real Kids,
Moby Grape,
Judy Mowatt,
Sparks,
Sarah Menescal,
Hashim,
E-Dancer,
Urselle,
Jawbox,
Kayak,
Jeff Mills,
Jerry Gold Smith,
Lou Christie,
Jeff Lynne,
Siouxsie and the Banshees,
Wally Richardson,
Loose Ends,
Pharoah Sanders,
Deakin,
Livin' Joy,
Gang of Four,
Mr. Review,
The Golliwogs,
LL Cool J,
Gerry Rafferty,
Yusef Lateef,
Piero Umiliani,
Pere Ubu,
Thee Headcoats,
MDC,
Danielle Patucci,
Erykah Badu,
New Order,
The Fall,
John Lydon,
Minor Threat,
K-Klass,
The Moody Blues,
Curtis Mayfield,
The Velvet Underground,
Parry Music,
Pole,
Ash Ra Tempel,
Angry Samoans,
Dual Sessions,
Nik Kershaw,
Niagra,
Neil Young,
Schoolly D,
The Dead C,
Harpers Bizarre,
The Young Rascals,
Gang Starr,
Ice-T,
Yellowson, Yellowson, Yellowson, Yellowson.
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.