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 Serbia and from Cairo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Mumbai.
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 Buzzcocks practice in a loft in Bolton.
I was working on the marimba 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 Thinking Fellers Union Local 282 to the dance kids.
I played it at the Crocodile.
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 Pretty Things. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Easy Going record on German import.
I heard that you have a white label of every seminal grunge 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 snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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 Names,
Liaisons Dangereuses,
Funky Four + One,
Rekid,
Eli Mardock,
48th St. Collective,
The Beau Brummels,
Delta 5,
Scan 7,
Isaac Hayes,
Yusef Lateef,
DeepChord presents Echospace,
The Men They Couldn't Hang,
Jeff Lynne,
The Searchers,
Radiohead,
Gabor Szabo,
John Lydon,
Cybotron,
The Real Kids,
Average White Band,
New Age Steppers,
Buzzcocks,
Fort Wilson Riot,
Max Romeo,
Throbbing Gristle,
Motorama,
Boogie Down Productions,
James Chance & The Contortions,
The Birthday Party,
the Fania All-Stars,
Public Image Ltd.,
Reuben Wilson,
Sonic Youth,
Crash Course in Science,
Minnie Riperton,
Second Layer,
The Litter,
The Cosmic Jokers,
Deakin,
Accadde A,
Bob Dylan,
Suburban Knight,
Joy Division,
Soft Cell,
Cal Tjader,
Sound Behaviour,
Scratch Acid,
Bush Tetras,
Inner City,
Roxette,
Camouflage,
Pharoah Sanders,
Graham Central Station,
Fatback Band,
Jesper Dahlback,
Bad Manners,
Visage,
June Days,
Freddie Wadling,
Pylon,
The Associates,
The Doors, The Doors, The Doors, The Doors.
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.