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 Egypt and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Toronto and Winnipeg.
I'm losing my edge to the art-school Salvador 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 güiro sounds with much patience.
I was there when Lou Reed 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 David Axelrod to the rap kids.
I played it at Trash.
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 Intrusion. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Barclay James Harvest,
Gil Scott Heron,
Eve St. Jones,
Traffic Nightmare,
the Germs,
The Gun Club,
Spandau Ballet,
Scratch Acid,
Tubeway Army,
Grandmaster Flash,
The Alarm Clocks,
Minny Pops,
Boogie Down Productions,
The Vogues,
John Lydon,
Dark Day,
Ultravox,
Au Pairs,
Strawberry Alarm Clock,
Hasil Adkins,
Tommy Roe,
Cecil Taylor,
Dorothy Ashby,
Hot Snakes,
Stiv Bators,
Fat Boys,
Wings,
U.S. Maple,
KRS-One,
Lower 48,
Electric Light Orchestra,
Reagan Youth,
In Retrospect,
The Beau Brummels,
This Heat,
The Doobie Brothers,
Albert Ayler,
Heavy D & The Boyz,
Groovy Waters,
Robert Hood,
Suicide,
The Black Dice,
Sparks,
Archie Shepp,
Marc Almond,
Bobbi Humphrey,
48th St. Collective,
Nico,
Joey Negro,
B.T. Express,
Grey Daturas,
David Bowie,
Buzzcocks,
Moebius,
Cluster,
Glambeats Corp.,
Soulsonic Force,
the Fania All-Stars,
Justin Hinds & The Dominoes,
Harry Pussy,
The United States of America, The United States of America, The United States of America, The United States of America.
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.