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 Libya and from Manchester.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Bologna 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 The Move to the grunge kids.
I played it at the Astoria.
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 Avey Tare. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
The Knickerbockers,
Bush Tetras,
Gerry Rafferty,
Mo-Dettes,
Cabaret Voltaire,
The Last Poets,
Bang On A Can,
Eric Copeland,
Deutsch Amerikanische Freundschaft,
Faraquet,
Lungfish,
the Human League,
X-Ray Spex,
Rhythm & Sound,
Freddie Wadling,
Bill Near,
The Fortunes,
The Grass Roots,
Johnny Clarke,
Camron Feat. Memphis Bleek And Beenie Seigel,
Alice Coltrane,
The Modern Lovers,
Ituana,
Nick Fraelich,
Lucky Dragons,
Godley & Creme,
Anthony Braxton,
Max Romeo,
Junior Murvin,
Matthew Halsall,
Donny Hathaway,
Sonic Youth,
The Monochrome Set,
The Velvet Underground,
Bronski Beat,
Television,
Animal Collective,
The Standells,
Teenage Jesus and the Jerks,
F. McDonald,
Basic Channel,
Intrusion,
Robert Hood,
The Searchers,
Jeru the Damaja,
Echospace,
Sam Rivers,
Sunsets and Hearts,
Roxy Music,
Make Up,
The Move,
KRS-One,
The Smiths,
Man Parrish,
Traffic Nightmare,
Lebanon Hanover,
Con Funk Shun,
The Beau Brummels,
A Certain Ratio,
Joe Smooth,
The Mummies,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.