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 Swaziland and from Tehran.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Delhi and Glasgow.
I'm losing my edge to the art-school Columbus 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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Ronan to the funk kids.
I played it at CBGB's.
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 Second Layer. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Q65 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
The Cure,
The American Breed,
Gary Puckett & The Union Gap,
Gabor Szabo,
Malaria!,
Blake Baxter,
Bronski Beat,
Second Layer,
B.T. Express,
Lakeside,
Avey Tare,
The Litter,
Piero Umiliani,
Lalann,
Lizzy Mercier Descloux,
Model 500,
Barry Ungar,
The Alarm Clocks,
Major Organ And The Adding Machine,
T. Rex,
Colin Newman,
Sunsets and Hearts,
The Residents,
Kango’s Stein Massive,
Oblivians,
Massinfluence,
Soft Machine,
The Tremeloes,
Bill Wells,
Liliput,
Thinking Fellers Union Local 282,
Harpers Bizarre,
The Blues Magoos,
Banda Bassotti,
Black Flag,
Joensuu 1685,
Drexciya,
Lou Christie,
Jandek,
U.S. Maple,
Agent Orange,
Ash Ra Tempel,
Absolute Body Control,
Gil Scott-Heron and Jamie xx,
The Shadows of Knight,
Eli Mardock,
Godley & Creme,
Buzzcocks,
Yusef Lateef,
Robert Wyatt,
Howard Jones,
Liaisons Dangereuses,
Television Personalities,
Johnny Osbourne,
D'Angelo,
Heavy D & The Boyz,
Roy Ayers,
The Electric Prunes,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.