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 Armenia and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Madrid and Taipei.
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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Moleskins to the dance 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 Tres Demented. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Freddie Wadling,
Glenn Branca,
kango's stein massive,
Big Daddy Kane,
Kenny Larkin,
Quando Quango,
Fifty Foot Hose,
Prince Buster,
Sun Ra Arkestra,
Organ,
Zapp,
The Alarm Clocks,
Tim Buckley,
Gil Scott-Heron & Brian Jackson,
The Star Department,
Crash Course in Science,
Traffic Nightmare,
Cal Tjader,
The Barracudas,
Terry Callier,
Red Lorry Yellow Lorry,
John Foxx,
The West Coast Pop Art Experimental Band,
Matthew Halsall,
Alice Coltrane,
U.S. Maple,
The Fugs,
Ten City,
Amon Düül II,
Model 500,
Röyhkä ja Rättö ja Lehtisalo,
Reagan Youth,
Roger Hodgson,
Aaron Thompson,
Eric Dolphy,
Public Enemy,
Altered Images,
Sonic Youth,
D'Angelo,
Boz Scaggs,
Whodini,
The J.B.'s,
The Tremeloes,
Cabaret Voltaire,
Black Pus,
Lebanon Hanover,
The New Christs,
Spoonie Gee,
Heaven 17,
Mandrill,
Moby Grape,
Liaisons Dangereuses,
Flipper,
The Skatalites,
Schoolly D,
Bobby Sherman,
June of 44,
Alison Limerick,
Funkadelic,
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.