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 Cyprus and from Tokyo.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Tehran and Lille.
I'm losing my edge to the art-school Salvador 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 chamberlin 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 Minny Pops to the grunge kids.
I played it at the 40 Watt.
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 Fear. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Q65 record on German import.
I heard that you have a white label of every seminal electroclash 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 a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Fat Boys,
The Count Five,
Lee Hazlewood,
Johnny Clarke,
Janne Schatter,
The Gap Band,
Arcadia,
The Techniques,
Reagan Youth,
Lou Reed,
Ultravox,
Nico,
Grandmaster Flash and the Furious Five,
Deutsch Amerikanische Freundschaft,
Infiniti,
The Seeds,
David Bowie,
The Kinks,
Charles Mingus,
Loose Ends,
The Searchers,
Oblivians,
Dorothy Ashby,
Aural Exciters,
Supertramp,
Shoche,
Aswad,
Wolf Eyes,
Nas,
Reuben Wilson,
Anthony Braxton,
Rahsaan Roland Kirk,
Mary Jane Girls,
The Evens,
Crash Course in Science,
The West Coast Pop Art Experimental Band,
Soul Sonic Force,
John Lydon,
Piero Umiliani,
Chrome,
Index,
Jeru the Damaja,
Saccharine Trust,
Symarip,
Juan Atkins,
Fugazi,
Adolescents,
the Normal,
Andrew Hill,
The Birthday Party,
Mars,
Mr. Review,
Young Marble Giants,
Oneida,
cv313,
Neil Young,
Agitation Free,
Lakeside,
Minor Threat,
Scrapy, Scrapy, Scrapy, Scrapy.
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.