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 Gabon and from Mexico City.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Delhi and Edmonton.
I'm losing my edge to the art-school Bologna 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 arpeggiator 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 Deepchord to the electroclash kids.
I played it at the Roxy.
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 Aural Exciters. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Youth Brigade record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
In Retrospect,
Soul II Soul,
Byron Stingily,
Lou Reed & John Cale,
Gerry Rafferty,
Country Joe & The Fish,
The United States of America,
Kaleidoscope,
Flash Fearless,
Eric Copeland,
Dual Sessions,
Index,
Amon Düül II,
Glambeats Corp.,
Visage,
Livin' Joy,
James White and The Blacks,
Lizzy Mercier Descloux,
Skaos,
The Stooges,
A Flock of Seagulls,
T. Rex,
Mark Hollis,
The Toasters,
The Move,
Silicon Teens,
Morten Harket,
The Flesh Eaters,
Tropical Tobacco,
The Gap Band,
Erykah Badu,
Sister Nancy,
The West Coast Pop Art Experimental Band,
Maleditus Sound,
Avey Tare,
Sound Behaviour,
Rowland S Howard / Lydia Lunch,
The Young Rascals,
L. Decosne,
Urselle,
Desert Stars,
The Cure,
Chrome,
Bad Manners,
Bootsy Collins,
8 Eyed Spy,
Public Image Ltd.,
Boz Scaggs,
Grauzone,
Jerry's Kids,
JFA,
Surgeon,
Matthew Bourne,
Sandy B,
Rites of Spring,
La Düsseldorf,
Anakelly,
Super Lover Cee & Casanova Rud,
Pole,
Minnie Riperton,
Yellowson,
Neu!,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.