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 Argentina and from Bremen.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Tehran and Sao Paulo.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 Bizarre Inc. to the grime 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 Pole. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every the Normal 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Louis and Bebe Barron,
MDC,
The Searchers,
Gerry Rafferty,
Siouxsie and the Banshees,
Kings Of Tomorrow,
Roy Ayers Ubiquity,
The Men They Couldn't Hang,
Traffic Nightmare,
The Slackers,
Rhythm & Sound,
Piero Umiliani,
Delon & Dalcan,
Brick,
Country Joe & The Fish,
Terrestrial Tones,
48th St. Collective,
Ultimate Spinach,
Roxette,
Amazonics,
Bush Tetras,
Ultramagnetic MC's,
Gil Scott Heron,
the Normal,
The Durutti Column,
Neu!,
China Crisis,
Reuben Wilson,
Vaughan Mason & Crew,
Amon Düül II,
The New Christs,
These Immortal Souls,
Beasts of Bourbon,
Lou Reed & John Cale,
Scion,
ABBA,
Mad Mike,
Leonard Cohen,
The Moleskins,
Robert Wyatt,
Lindisfarne,
Rotary Connection,
Y Pants,
Chrome,
Lungfish,
Carl Craig,
Black Sheep,
Echospace,
Slick Rick,
Pulsallama,
Rapeman,
Gary Puckett & The Union Gap,
Mr. Review,
Ossler,
Jesper Dahlbäck,
Arthur Verocai,
Hot Snakes,
Fugazi,
Terry Callier,
Sister Nancy,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.