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 Bhutan and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Bremen and Mumbai.
I'm losing my edge to the art-school Hong Kong 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 marimba 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 Bluetip to the dance kids.
I played it at the Crocodile.
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 Supertramp. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every Blake Baxter 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
Kango’s Stein Massive,
The Count Five,
Rahsaan Roland Kirk,
Au Pairs,
Loose Ends,
Eurythmics,
Youth Brigade,
Suicide,
Nation of Ulysses,
Chris Corsano,
Nick Fraelich,
UT,
Faust,
Schoolly D,
Boredoms,
Drexciya,
The Kinks,
The Sound,
David Axelrod,
Subhumans,
Sonny Sharrock,
Zapp,
Pantytec,
Beasts of Bourbon,
Ludus,
Davy DMX,
Sixth Finger,
Newcleus,
Alison Limerick,
The Young Rascals,
The Human League,
Reagan Youth,
Jimmy McGriff,
Gastr Del Sol,
James White and The Blacks,
B.T. Express,
The Divine Comedy,
Dark Day,
Spandau Ballet,
Fatback Band,
Ponytail,
Siglo XX,
Essential Logic,
Soulsonic Force,
The Pop Group,
The New Christs,
Marmalade,
Heavy D & The Boyz,
Skaos,
Joy Division,
The Evens,
It's A Beautiful Day,
Alice Coltrane,
Kings Of Tomorrow,
Jawbox,
Skriet,
Bronski Beat,
Bobby Byrd,
Avey Tare & Kría Brekkan,
Fugazi,
Das Ding, Das Ding, Das Ding, Das Ding.
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.