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 Zimbabwe and from Lille.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Tehran and Spokane.
I'm losing my edge to the art-school Tokyo 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 spring reverb 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 The West Coast Pop Art Experimental Band to the disco kids.
I played it at the Troubador.
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 Ossler. All the underground hits.
All Q65 tracks. I heard you have a vinyl of every Black Pus 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 a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grauzone,
D'Angelo,
Skaos,
Girls At Our Best!,
Bobby Womack,
The Leaves,
Justin Hinds & The Dominoes,
Los Fastidios,
World's Most,
Electric Prunes,
The Gories,
Bluetip,
Peter and Kerry,
Monks,
The Sound,
8 Eyed Spy,
MC5,
X-101,
Art Ensemble Of Chicago,
Skarface,
Jeru the Damaja,
Joe Smooth,
Average White Band,
The Cure,
Aaron Thompson,
Au Pairs,
JFA,
Shoche,
The Electric Prunes,
The Moleskins,
The Gladiators,
James Chance & The Contortions,
Warsaw,
Zapp,
Radiopuhelimet,
Lalo Schifrin,
Boredoms,
The Grass Roots,
Freddie Wadling,
Urselle,
Guru Guru,
Bad Manners,
E-Dancer,
Das Ding,
Dorothy Ashby,
James White and The Blacks,
Arcadia,
the Swans,
Tears for Fears,
The Walker Brothers,
Jacob Miller,
DJ Sneak,
Bootsy's Rubber Band,
Sun City Girls,
The Angels of Light,
Jeff Lynne,
MDC,
The Misunderstood,
Organ,
Kerri Chandler,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Deakin, Deakin, Deakin, Deakin.
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.