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 Antigua and from Cairo.
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 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Sao Paulo.
I'm losing my edge to the art-school Lyon 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 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 Richard Hell and the Voidoids to the disco kids.
I played it at the Roxy.
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 Soul II Soul. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Radiohead record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey 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?
Avey Tare's Slasher Flicks,
The Skatalites,
Fat Boys,
Pierre Henry,
The Detroit Cobras,
The Seeds,
Stockholm Monsters,
The Monks,
Kenny Larkin,
Bobby Sherman,
The West Coast Pop Art Experimental Band,
The Toasters,
The Mummies,
New Age Steppers,
Lalann,
Grey Daturas,
Albert Ayler,
Barbara Tucker,
Frankie Knuckles,
Rufus Thomas,
Sonny Sharrock,
the Swans,
Laurel Aitken,
Lalo Schifrin,
Kings Of Tomorrow,
Wighnomy Brothers & Robag Wruhme,
Cymande,
Lou Christie,
Andrew Hill,
The Jesus and Mary Chain,
Lungfish,
Amon Düül,
FM Einheit,
Lizzy Mercier Descloux,
Circle Jerks,
Justin Hinds & The Dominoes,
The Young Rascals,
Tres Demented,
The Invisible,
Juan Atkins,
Red Lorry Yellow Lorry,
Wings,
Harmonia,
Vladislav Delay,
Dark Day,
The Offenders,
Mad Mike,
A Certain Ratio,
Derrick Morgan,
Gary Puckett & The Union Gap,
Teenage Jesus and the Jerks,
Deutsch Amerikanische Freundschaft,
The Sisters of Mercy,
Johnny Osbourne,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Gap Band,
The Shadows of Knight,
Schoolly D,
Suburban Knight,
Rites of Spring,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.