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 Romania and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Portland and Delhi.
I'm losing my edge to the art-school Tehran 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Alphaville to the techno kids.
I played it at the Astoria.
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 The Detroit Cobras. All the underground hits.
All Thinking Fellers Union Local 282 tracks. I heard you have a vinyl of every Roy Ayers Ubiquity record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
The Evens,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Connie Case,
Jacob Miller,
Bauhaus,
James White and The Blacks,
Marcia Griffiths,
L. Decosne,
New York Dolls,
Aswad,
Ash Ra Tempel,
Metal Thangz,
Little Man,
Blossom Toes,
It's A Beautiful Day,
Deutsch Amerikanische Freundschaft,
Bobby Sherman,
Kerrie Biddell,
Nik Kershaw,
Grandmaster Flash,
Joe Finger,
The Modern Lovers,
T. Rex,
New Age Steppers,
Rakim,
Pete Rock & C.L. Smooth,
Lucky Dragons,
Steve Hackett,
the Human League,
Kevin Saunderson,
Pantaleimon,
Organ,
Brick,
Ohio Players,
The Last Poets,
Los Fastidios,
Andrew Hill,
A Certain Ratio,
This Heat,
Amon Düül II,
A Flock of Seagulls,
Crime,
Procol Harum,
Rufus Thomas,
Eden Ahbez,
Vainqueur,
Ken Boothe,
The Sonics,
Soft Machine,
The Toasters,
John Lydon,
Marshall Jefferson,
Scott Walker + Sunn O))),
The Slits,
Nils Olav,
Kerri Chandler,
Kurtis Blow,
Index,
Scott Walker,
Radiohead,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.