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 Belarus and from London.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Bologna and Copenhagen.
I'm losing my edge to the art-school Glasgow 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 guitar 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 Alarm Clocks to the funk kids.
I played it at Cafe Wha.
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 Electric Prunes. All the underground hits.
All Reuben Wilson tracks. I heard you have a vinyl of every Skaos 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Rahsaan Roland Kirk record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
The Chocolate Watch Band,
Aural Exciters,
Kauko Röyhkä ja Narttu,
Lalann,
Siouxsie and the Banshees,
Andrew Ashong & Theo Parrish,
Technova,
Eve St. Jones,
The Moleskins,
The Kinks,
Alison Limerick,
A Certain Ratio,
The Gladiators,
Oneida,
Flamin' Groovies,
Lou Reed,
Intrusion,
Gerry Rafferty,
Notorious Big And Bone Thugs,
Ultimate Spinach,
Bootsy Collins,
Eden Ahbez,
LL Cool J,
the Germs,
Bizarre Inc.,
Marcia Griffiths,
Nick Cave & The Bad Seeds,
Peter and Kerry,
the Human League,
The Fire Engines,
Nik Kershaw,
Slick Rick,
the Fania All-Stars,
Anthony Braxton,
The Angels of Light,
Aloha Tigers,
Chris & Cosey,
Sticky Fingaz feat. Raekwon,
Strawberry Alarm Clock,
Soulsonic Force,
The Residents,
Scrapy,
Bobbi Humphrey,
Jesper Dahlback,
Barbara Tucker,
The Cure,
The Sound,
Steve Hackett,
Niagra,
Crash Course in Science,
The Star Department,
Gang Starr,
Brand Nubian,
Mantronix,
Gil Scott Heron,
Lyres,
Dual Sessions,
Lower 48,
Eric Copeland,
The Fugs,
Marc Almond,
Television Personalities, Television Personalities, Television Personalities, Television Personalities.
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.