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 Ethiopia and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1979.
I'm losing my edge.
To all the kids in Cairo and Hong Kong.
I'm losing my edge to the art-school Bologna 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Traffic Nightmare to the disco 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 Ultra Naté. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every Al Stewart 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 '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Zero Boys record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
Wighnomy Brothers & Robag Wruhme,
Minutemen,
The Invisible,
The Sound,
Bobby Sherman,
Scott Walker,
Slave,
Charles Mingus,
The Offenders,
the Fania All-Stars,
Make Up,
K-Klass,
Donald Byrd,
Gary Puckett & The Union Gap,
Gil Scott-Heron & Brian Jackson,
The Leaves,
Loose Ends,
Sonny Sharrock,
Eyeless In Gaza,
The Saints,
Lou Reed & Metallica,
Patti Smith,
Jawbox,
Fat Boys,
Main Source,
Tres Demented,
Von Mondo,
Cecil Taylor,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Tim Buckley,
The Tremeloes,
Sixth Finger,
The Gun Club,
Notorious Big And Bone Thugs,
The Alarm Clocks,
Johnny Clarke,
Barbara Tucker,
The Cramps,
X-102,
Bobby Byrd,
Lebanon Hanover,
Warren Ellis,
Royal Trux,
Guru Guru,
Thinking Fellers Union Local 282,
Ajijia Myrayebe,
LL Cool J,
Sandy B,
Todd Rundgren,
Sister Nancy,
The Trojans,
Throbbing Gristle,
Rotary Connection,
Röyhkä ja Rättö ja Lehtisalo,
Barrington Levy,
Strawberry Alarm Clock,
Letta Mbulu,
Black Pus,
Hashim,
Swell Maps,
Sam Rivers,
Rosa Yemen,
Dark Day, Dark Day, Dark Day, Dark Day.
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.