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 Thailand and from Philadelphia.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Bremen and Sao Paulo.
I'm losing my edge to the art-school Mexico City 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 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 The Mummies to the dance kids.
I played it at CBGB's.
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 Cameo. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Dave Gahan,
Monks,
The Knickerbockers,
Bobby Womack,
The Martian,
Siglo XX,
The Men They Couldn't Hang,
Nas,
Maleditus Sound,
Stockholm Monsters,
Rotary Connection,
Dennis Brown,
Jacques Brel,
Rekid,
Dead Boys,
E-Dancer,
Zapp,
Essential Logic,
Pussy Galore,
Harpers Bizarre,
Chrome,
Hasil Adkins,
London Community Gospel Choir,
The Motions,
Jesper Dahlback,
Maurizio,
Harry Pussy,
Nation of Ulysses,
Echo & the Bunnymen,
The Chocolate Watch Band,
Juan Atkins,
Quantec,
Brick,
Delon & Dalcan,
Brand Nubian,
The Tremeloes,
Warren Ellis,
Gregory Isaacs,
Stetsasonic,
Kaleidoscope,
Fear,
Swell Maps,
Amon Düül II,
Alphaville,
Robert Hood,
Ten City,
Black Bananas,
Ash Ra Tempel,
Frankie Knuckles,
Thinking Fellers Union Local 282,
Inner City,
New Order,
LL Cool J,
Andrew Ashong & Theo Parrish,
Todd Terry,
The Cosmic Jokers,
Infiniti,
Unwound,
Altered Images,
The Associates, The Associates, The Associates, The Associates.
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.