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 Sudan and from Paris.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Portland and Stockholm.
I'm losing my edge to the art-school Accra 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the güiro 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 Siouxsie and the Banshees to the rock 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 Idris Muhammad. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every The Happenings 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
Man Eating Sloth,
Tomorrow,
In Retrospect,
Loose Ends,
Soft Machine,
Rites of Spring,
Spoonie Gee,
Whodini,
The Last Poets,
Mary Jane Girls,
Lou Reed,
Terry Callier,
Drexciya,
Gregory Isaacs,
The Gap Band,
Bobby Hutcherson,
Leonard Cohen,
Los Fastidios,
Captain Beefheart & His Magic Band,
Can,
Röyhkä ja Rättö ja Lehtisalo,
Massinfluence,
Isaac Hayes,
Althea and Donna,
DJ Style,
Gang Starr,
Charles Mingus,
Barry Ungar,
John Lydon,
Sugar Minott,
Gong,
Unrelated Segments,
The Monochrome Set,
48th St. Collective,
Symarip,
E-Dancer,
Lafayette Afro Rock Band,
Interpol,
DNA,
Rakim,
David Axelrod,
Camouflage,
Fifty Foot Hose,
Nico,
The Happenings,
Dual Sessions,
Scrapy,
June of 44,
The Smiths,
Crash Course in Science,
PIL,
Robert Wyatt,
Junior Murvin,
The Alarm Clocks,
Scan 7,
X-Ray Spex,
Theoretical Girls,
Marshall Jefferson,
Pulsallama,
Max Romeo,
The Evens,
The Misunderstood,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.