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 Argentina and from Lagos.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
I'm losing my edge to the art-school Winnipeg 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 Feelies practice in a loft in Haledon.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 Von Mondo to the jazz kids.
I played it at the Hacienda.
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 Matthew Halsall. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal punk 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
LL Cool J,
Black Sheep,
Eric B and Rakim,
Reuben Wilson,
The Motions,
Marc Romboy vs. Booka Shade,
Neil Young & Crazy Horse,
Marmalade,
The Pretty Things,
Louis and Bebe Barron,
Alton Ellis,
Skaos,
Glenn Branca,
Rotary Connection,
Soul II Soul,
Sun City Girls,
Marc Almond,
Crash Course in Science,
Amon Düül II,
The American Breed,
Derrick Morgan,
Funkadelic,
Blossom Toes,
Notorious Big And Bone Thugs,
DNA,
Joensuu 1685,
Monolake,
Siouxsie and the Banshees,
The Vogues,
Agitation Free,
Dr. Dre and Snoop Doggy Dog,
Morten Harket,
Be Bop Deluxe,
Mary Jane Girls,
Yaz,
Porter Ricks,
Tim Buckley,
Ten City,
Tropical Tobacco,
Rahsaan Roland Kirk,
Trumans Water,
Hoover,
Eden Ahbez,
The Martian,
Lou Reed,
The Fuzztones,
Cheater Slicks,
The Flesh Eaters,
Kool Moe Dee,
Fort Wilson Riot,
Niagra,
Faraquet,
Art Ensemble Of Chicago,
Amazonics,
Charles Mingus,
Stockholm Monsters,
The Cosmic Jokers,
Accadde A,
Steve Hackett,
Juan Atkins,
Lou Reed & John Cale,
The Saints, The Saints, The Saints, The Saints.
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.