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 Tajikistan and from Milan.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and London.
I'm losing my edge to the art-school Edmonton 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Liliput to the rap kids.
I played it at the Troubador.
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 Major Organ And The Adding Machine. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every Gang of Four record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Siouxsie and the Banshees,
Bobby Hutcherson,
Royal Trux,
Jacques Brel,
Ken Boothe,
Isaac Hayes,
Moss Icon,
Q65,
Mad Mike,
Steve Hackett,
The Wake,
the Germs,
Mark Hollis,
the Human League,
Kool G Rap & DJ Polo,
Black Flag,
Michelle Simonal,
Barbara Tucker,
Faust,
The Knickerbockers,
Justin Hinds & The Dominoes,
Fad Gadget,
Charles Mingus,
Crispy Ambulance,
Mary Jane Girls,
Mo-Dettes,
Outsiders,
John Foxx,
Tim Buckley,
Fugazi,
the Bar-Kays,
Soul Sonic Force,
Minnie Riperton,
Radiopuhelimet,
The Jesus and Mary Chain,
Maleditus Sound,
Rekid,
The Peanut Butter Conspiracy,
Country Joe & The Fish,
Roy Ayers,
DJ Style,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Soulsonic Force,
Whodini,
Rhythim Is Rhythim,
Traffic Nightmare,
Franke,
Aaron Thompson,
Kings Of Tomorrow,
Suburban Knight,
Lee Hazlewood,
Red Lorry Yellow Lorry,
The Residents,
Shoche,
Icehouse,
Swell Maps,
Magma,
Eddi Front,
Mandrill,
Zapp,
Tres Demented,
Black Bananas,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.