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 Mozambique and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1977.
I'm losing my edge.
To all the kids in Johannesburg and Seoul.
I'm losing my edge to the art-school New York 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Adolescents to the crunk kids.
I played it at the Spitz.
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 Kinks. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Circle Jerks 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Khruangbin,
Lucky Dragons,
Magazine,
The Pop Group,
Lalo Schifrin,
New York Dolls,
Eric B and Rakim,
Japan,
Delta 5,
Girls At Our Best!,
Little Man,
The Leaves,
Kool G Rap & DJ Polo,
Adolescents,
Television Personalities,
Franke,
Orchestral Manoeuvres in the Dark,
Soft Machine,
Dawn Penn,
Public Enemy,
The Misunderstood,
Mo-Dettes,
PIL,
Lee Hazlewood,
Man Eating Sloth,
Wire,
The Techniques,
Pole,
Anthony Braxton,
Masters at Work,
Marshall Jefferson,
Todd Terry,
Toni Rubio,
Rotary Connection,
Second Layer,
Scientists,
Bill Near,
AZ,
The Litter,
Nico,
Sun Ra,
Rekid,
Drexciya,
Kayak,
Sad Lovers and Giants,
Colin Newman,
Robert Görl,
T. Rex,
Johnny Clarke,
Vainqueur,
Sällskapet,
Bang On A Can,
Ornette Coleman,
Godley & Creme,
Nik Kershaw,
Lalann,
Minnie Riperton,
Stockholm Monsters,
The Barracudas,
Country Teasers,
The Toasters,
Tomorrow,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.