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 Angola and from Lille.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
I'm losing my edge to the art-school Accra 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 organ 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 Susan Cadogan to the grunge kids.
I played it at Cafe Wha.
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 Thompson Twins. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every Mantronix record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Gichy Dan record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
Mad Mike,
Sarah Menescal,
Blossom Toes,
Pete Rock & C.L. Smooth,
Barclay James Harvest,
Sparks,
The Sisters of Mercy,
Oppenheimer Analysis,
Negative Approach,
the Sonics,
Sexual Harrassment,
Shuggie Otis,
London Community Gospel Choir,
Joensuu 1685,
Minor Threat,
Super Lover Cee & Casanova Rud,
Bootsy's Rubber Band,
Technova,
Bizarre Inc.,
Amon Düül II,
The Barracudas,
John Lydon,
Q65,
Tommy Roe,
The Smiths,
The West Coast Pop Art Experimental Band,
Flash Fearless,
Rhythm & Sound,
Ice-T,
The Saints,
Terry Callier,
Urselle,
Television,
Kevin Saunderson,
Tomorrow,
Marine Girls,
Piero Umiliani,
Cymande,
Easy Going,
Ash Ra Tempel,
The Blackbyrds,
Main Source,
Alice Coltrane,
Adolescents,
Avey Tare,
New Order,
Bill Wells,
Ultra Naté,
John Cale,
This Heat,
AZ,
Graham Central Station,
Davy DMX,
Agent Orange,
Warren Ellis,
Harmonia,
Half Japanese,
Rites of Spring,
Judy Mowatt,
The Peanut Butter Conspiracy,
Colin Newman,
Andrew Ashong & Theo Parrish,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.