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 Czech Republic and from Copenhagen.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Spokane and Bologna.
I'm losing my edge to the art-school Lyon 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 snare 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 Teenage Jesus and the Jerks to the punk 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 Roy Ayers. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s 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 Hasil Adkins record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
Nation of Ulysses,
Stockholm Monsters,
These Immortal Souls,
The Busters,
Chris & Cosey,
H. Thieme,
Altered Images,
David Bowie,
Black Bananas,
Red Lorry Yellow Lorry,
Super Lover Cee & Casanova Rud,
Neil Young & Crazy Horse,
DNA,
Faust,
Theoretical Girls,
Delta 5,
The Sound,
Max Romeo,
Erykah Badu,
ABC,
The Star Department,
Scott Walker,
Lower 48,
Shoche,
Guru Guru,
Visionaries,LMNO, T- Love & Iriscience,
Crash Course in Science,
Aloha Tigers,
The Blues Magoos,
Joyce Sims,
Depeche Mode,
Arthur Verocai,
Camberwell Now,
Bad Manners,
Ronnie Foster,
R.M.O.,
Sonny Sharrock,
Roy Ayers Ubiquity,
Siouxsie and the Banshees,
Marmalade,
the Association,
the Fania All-Stars,
F. McDonald,
Gian Franco Pienzio,
Gregory Isaacs,
Angels of Light & Akron/Family,
Kool Moe Dee,
The Fire Engines,
Suburban Knight,
Larry & the Blue Notes,
Nick Fraelich,
Rites of Spring,
The Toasters,
Gerry Rafferty,
Pantaleimon,
Nirvana,
Cecil Taylor,
Alison Limerick,
The Cure,
The Selecter,
Eli Mardock, Eli Mardock, Eli Mardock, Eli Mardock.
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.