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 Macedonia and from Columbus.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Lyon.
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 harpsichord 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 Rosa Yemen to the crunk 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 Rod Modell. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Terrestrial Tones 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
The Sonics,
Main Source,
The Peanut Butter Conspiracy,
Maurizio,
These Immortal Souls,
Aloha Tigers,
Sarah Menescal,
the Swans,
Lyres,
Henry Cow,
Pantaleimon,
The Evens,
The Busters,
The Index,
Sonny Sharrock,
Agent Orange,
Smog,
Strawberry Alarm Clock,
The Grass Roots,
Ultra Naté,
The Slits,
Donny Hathaway,
Amon Düül,
Angry Samoans,
Big Daddy Kane,
The Jesus and Mary Chain,
ABC,
Minutemen,
The Velvet Underground,
Wings,
Popol Vuh,
Scratch Acid,
Neu!,
Godley & Creme,
Warsaw,
Chris & Cosey,
Major Organ And The Adding Machine,
Vaughan Mason & Crew,
Shuggie Otis,
Ituana,
Monolake,
Minny Pops,
Kings Of Tomorrow,
Inner City,
Trumans Water,
JFA,
Tropical Tobacco,
The Motions,
Pet Shop Boys,
The Moleskins,
Amazonics,
Terror Squad Feat. Camron,
Louis and Bebe Barron,
Arcadia,
Das Ding,
The Five Americans,
Darondo,
Theoretical Girls,
The Divine Comedy,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.