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 Dominican Republic and from Milan.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Madrid and Beijing.
I'm losing my edge to the art-school Toronto 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 chamberlin 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 Louis and Bebe Barron to the grime kids.
I played it at Cafe Wha.
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 Popol Vuh. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Scott Walker 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeru the Damaja,
Nation of Ulysses,
Eli Mardock,
Crispian St. Peters,
Bobby Womack,
Main Source,
The Trojans,
David Bowie,
Lower 48,
Organ,
The Fuzztones,
Joyce Sims,
The Walker Brothers,
Echospace,
The Shadows of Knight,
Archie Shepp,
the Normal,
The Associates,
Howard Jones,
the Swans,
Los Fastidios,
Goldenarms,
Pole,
Wings,
Erasure,
Carl Craig,
The Skatalites,
Scott Walker + Sunn O))),
Rapeman,
Kayak,
Terry Callier,
AZ,
Rod Modell,
Gastr Del Sol,
Bobby Byrd,
Flipper,
Stiv Bators,
Harmonia,
the Slits,
Kas Product,
Pet Shop Boys,
The United States of America,
Kevin Saunderson,
Negative Approach,
Grandmaster Flash,
Roger Hodgson,
Gong,
Severed Heads,
Fat Boys,
Boz Scaggs,
The Cosmic Jokers,
The Techniques,
Warsaw,
The Moody Blues,
Amon Düül II,
Robert Görl,
Josef K,
Darondo,
Flamin' Groovies,
Althea and Donna,
Lou Reed & John Cale,
Magazine,
Marine Girls,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.