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 Nigeria and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Halifax and Johannesburg.
I'm losing my edge to the art-school Toronto 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 harpsichord 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 Rowland S Howard / Lydia Lunch to the disco 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 The Move. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every Adolescents record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Prince Buster record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Shadows of Knight,
ABBA,
The Dead C,
Gerry Rafferty,
The Black Dice,
Peter & Gordon,
Kerrie Biddell,
Pole,
David McCallum,
Negative Approach,
Gabor Szabo,
Neil Young,
Wighnomy Brothers & Robag Wruhme,
The Invisible,
Agitation Free,
Red Lorry Yellow Lorry,
John Coltrane,
Mo-Dettes,
Intrusion,
La Düsseldorf,
Chris & Cosey,
The Dave Clark Five,
Tim Buckley,
Can,
Funkadelic,
Notorious BIG live in Amsterdam,
Maurizio,
Unrelated Segments,
Hardrive,
The Durutti Column,
The Standells,
10cc,
Grauzone,
Gregory Isaacs,
Eurythmics,
Vladislav Delay,
Fluxion,
Althea and Donna,
R.M.O.,
Ultramagnetic MC's,
48th St. Collective,
Kerri Chandler,
The Fortunes,
a-ha,
Public Image Ltd.,
Scott Walker,
De La Soul & Jungle Brothers,
Nick Fraelich,
Dark Day,
Fatback Band,
Marc Romboy vs. Booka Shade,
Ossler,
Terry Callier,
Rites of Spring,
The Flesh Eaters,
Throbbing Gristle,
The Remains,
Jeff Lynne,
Delon & Dalcan, Delon & Dalcan, Delon & Dalcan, Delon & Dalcan.
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.