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 Slovakia and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1977.
I'm losing my edge.
To all the kids in Portland and Accra.
I'm losing my edge to the art-school Madrid 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 organ 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 Derrick Morgan 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 Neil Young & Crazy Horse. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every Eli Mardock 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Oneida,
The Slackers,
LL Cool J,
Susan Cadogan,
Siglo XX,
Siouxsie and the Banshees,
Depeche Mode,
The Cramps,
Panda Bear,
the Slits,
The Vogues,
EPMD,
Joey Negro,
The Dead C,
The Blackbyrds,
Heavy D & The Boyz,
Alison Limerick,
Interpol,
Manfred Mann's Earth Band,
Magma,
David Bowie,
Inner City,
Urselle,
The Trojans,
Idris Muhammad,
a-ha,
Pulsallama,
Gastr Del Sol,
Fort Wilson Riot,
Altered Images,
X-101,
Rosa Yemen,
Eric B and Rakim,
Kas Product,
The Alarm Clocks,
Lou Reed,
Howard Jones,
The American Breed,
Fela Kuti,
Pierre Henry,
Youth Brigade,
Drive Like Jehu,
Das Ding,
Mantronix,
The Birthday Party,
Crispian St. Peters,
The Associates,
Khruangbin,
Gil Scott-Heron & Brian Jackson,
Graham Central Station,
Smog,
Model 500,
Rod Modell,
T. Rex,
Gang Starr,
The Neon Judgement,
Eurythmics,
Sandy B,
Harpers Bizarre,
Drexciya,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.