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 Madagascar and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Bremen and Mumbai.
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 synthesizer 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 Flipper 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 Unrelated Segments. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Ultimate Spinach record on German import.
I heard that you have a white label of every seminal rap 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 güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Knickerbockers record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
Matthew Halsall,
Shoche,
Intrusion,
Black Moon,
Idris Muhammad,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Monks,
Barrington Levy,
Desert Stars,
Hasil Adkins,
Gastr Del Sol,
Marshall Jefferson,
Alice Coltrane,
Erasure,
Blancmange,
The Sisters of Mercy,
June Days,
The Standells,
Jesper Dahlback,
U.S. Maple,
Underground Resistance,
Fluxion,
Radiopuhelimet,
Clear Light,
T. Rex,
Yazoo,
Monolake,
The Pretty Things,
Minny Pops,
Animal Collective,
Harpers Bizarre,
Graham Central Station,
Main Source,
The Red Krayola,
Simply Red,
David Axelrod,
Stetsasonic,
Soul II Soul,
June of 44,
The Beau Brummels,
Marmalade,
Reuben Wilson,
Boz Scaggs,
The Tremeloes,
Selector Dub Narcotic,
Index,
Duran Duran,
Audionom,
Section 25,
Masters at Work,
JFA,
Leonard Cohen,
Nas,
Pantaleimon,
Godley & Creme,
Grandmaster Flash and the Furious Five,
the Normal,
Kas Product,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.