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 Azerbaijan and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Houston and Philadelphia.
I'm losing my edge to the art-school Lille 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen 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 Bobby Womack to the jazz kids.
I played it at the Astoria.
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 Yusef Lateef. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every Glambeats Corp. record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Toasters,
Easy Going,
Louis and Bebe Barron,
Kurtis Blow,
Jawbox,
Deakin,
Ituana,
Lakeside,
Gian Franco Pienzio,
The Fall,
Das Ding,
Alphaville,
Toni Rubio,
Sad Lovers and Giants,
Adolescents,
Bill Near,
ABC,
The Walker Brothers,
R.M.O.,
DeepChord presents Echospace,
Wings,
Cal Tjader,
Ralphi Rosario,
T.S.O.L.,
Motorama,
Grauzone,
Y Pants,
Sound Behaviour,
New York Dolls,
La Düsseldorf,
Nas,
The Leaves,
Bootsy's Rubber Band,
Quadrant,
Sex Pistols,
Minutemen,
Peter Gordon & Love of Life Orchestra,
Moby Grape,
Howard Jones,
Aural Exciters,
PIL,
Susan Cadogan,
Marine Girls,
James Chance & The Contortions,
Liliput,
Bluetip,
Sister Nancy,
Jacob Miller,
Mad Mike,
Electric Prunes,
The Slits,
Chris & Cosey,
The Grass Roots,
Brass Construction,
Cecil Taylor,
Glenn Branca,
Sparks,
Niagra,
Ludus,
Slick Rick,
Sonic Youth,
The Angels of Light,
Whodini, Whodini, Whodini, Whodini.
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.