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 Kenya and from Columbus.
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 1970.
I'm losing my edge.
To all the kids in Mexico City and Mumbai.
I'm losing my edge to the art-school Lagos 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the marimba sounds with much patience.
I was there when Donald Fagen 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 MDC to the dance kids.
I played it at the Spitz.
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 T.S.O.L.. All the underground hits.
All Rod Modell tracks. I heard you have a vinyl of every Soul II Soul record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grauzone,
Young Marble Giants,
The Mummies,
Fear,
Dr. Dre and Snoop Doggy Dog,
Anthony Braxton,
Janne Schatter,
Mary Jane Girls,
Yaz,
The Music Machine,
Matthew Halsall,
Hasil Adkins,
the Soft Cell,
Soul II Soul,
DeepChord presents Echospace,
Gabor Szabo,
Marc Almond,
Kings Of Tomorrow,
Fugazi,
Eddi Front,
the Sonics,
Ohio Players,
The Mighty Diamonds,
Half Japanese,
Gil Scott-Heron & Brian Jackson,
Spoonie Gee,
Heavy D & The Boyz,
Howard Jones,
A Certain Ratio,
World's Most,
ABC,
Pharoah Sanders,
Masters at Work,
The Pop Group,
Von Mondo,
The Busters,
Boredoms,
Bronski Beat,
Lyres,
B.T. Express,
Urselle,
John Coltrane,
Eli Mardock,
Newcleus,
Nik Kershaw,
Black Pus,
Peter and Kerry,
Deutsch Amerikanische Freundschaft,
Bill Near,
Fela Kuti,
Porter Ricks,
Ornette Coleman,
Marvin Gaye,
Absolute Body Control,
Sun Ra,
The Associates,
Stetsasonic,
Lonnie Liston Smith,
Ice-T,
The Raincoats,
Sad Lovers and Giants,
Man Eating Sloth, Man Eating Sloth, Man Eating Sloth, Man Eating Sloth.
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.