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 Korea North and from Madrid.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Seoul and Woodstock.
I'm losing my edge to the art-school Mexico City 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 David Bowie 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 Hoover to the rap kids.
I played it at Trash.
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 Funkadelic. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal grunge 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 marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Radiopuhelimet,
Rotary Connection,
Little Man,
Harry Pussy,
Todd Rundgren,
Henry Cow,
Notorious BIG live in Amsterdam,
Peter Gordon & Love of Life Orchestra,
Gang Green,
Orchestral Manoeuvres in the Dark,
Funky Four + One,
Max Romeo,
Excepter,
Q and Not U,
Simply Red,
Alice Coltrane,
Arthur Verocai,
Hot Snakes,
John Holt,
The United States of America,
Eyeless In Gaza,
Eurythmics,
Jeff Lynne,
The Techniques,
Bush Tetras,
the Association,
Bill Wells,
Pole,
The Sisters of Mercy,
Pulsallama,
Jacob Miller,
Model 500,
The Mighty Diamonds,
Hardrive,
Procol Harum,
Lee Hazlewood,
AZ,
Spandau Ballet,
Symarip,
Masters at Work,
Yazoo,
Deadbeat,
Adolescents,
Avey Tare's Slasher Flicks,
The Walker Brothers,
Soft Cell,
Brass Construction,
The Beau Brummels,
Gary Puckett & The Union Gap,
Ultimate Spinach,
La Düsseldorf,
Anthony Braxton,
Spoonie Gee,
Technova,
Minor Threat,
Bobby Byrd,
Mantronix,
New York Dolls,
Joyce Sims,
The Grass Roots,
The Slits,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
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.