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 Maldives and from Philadelphia.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Hong Kong and Woodstock.
I'm losing my edge to the art-school Jakarta 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Fugs to the rock 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 La Düsseldorf. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every Dual Sessions record on German import.
I heard that you have a white label of every seminal grunge 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 arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Youth Brigade,
Robert Hood,
The Birthday Party,
Lakeside,
Mary Jane Girls,
Pantytec,
The Fire Engines,
Alison Limerick,
the Sonics,
Blancmange,
Siouxsie and the Banshees,
Jeff Lynne,
Wolf Eyes,
DeepChord presents Echospace,
Harpers Bizarre,
The Gun Club,
The Names,
Gang of Four,
The Royal Family And The Poor,
New Age Steppers,
Wire,
Oppenheimer Analysis,
Gian Franco Pienzio,
Deutsch Amerikanische Freundschaft,
Make Up,
Grauzone,
The Misunderstood,
James White and The Blacks,
Interpol,
Excepter,
Sad Lovers and Giants,
Country Teasers,
Joensuu 1685,
Ultramagnetic MC's,
Spandau Ballet,
Avey Tare,
Be Bop Deluxe,
Bad Manners,
Stockholm Monsters,
Thee Headcoats,
Scion,
Young Marble Giants,
Amon Düül II,
Matthew Halsall,
Roy Ayers Ubiquity,
Jacob Miller,
The Cramps,
Kenny Larkin,
Japan,
Subhumans,
Essential Logic,
Mark Hollis,
Arthur Verocai,
Eden Ahbez,
R.M.O.,
Alton Ellis,
Bobby Byrd,
Jawbox,
MC5,
Jacques Brel,
D'Angelo,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.