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 Latvia and from Madrid.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1978.
I'm losing my edge.
To all the kids in Houston and Lille.
I'm losing my edge to the art-school Bologna 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Fluxion 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 Little Man. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every Bobbi Humphrey record on German import.
I heard that you have a white label of every seminal jazz 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 an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques 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?
Blake Baxter,
One Last Wish,
L. Decosne,
Jacob Miller,
Cal Tjader,
Avey Tare,
Jesper Dahlbäck,
Animal Collective,
London Community Gospel Choir,
Sexual Harrassment,
Grey Daturas,
Sight & Sound,
Masters at Work,
The Standells,
The Fire Engines,
The Star Department,
Peter & Gordon,
The Red Krayola,
The Cure,
Kenny Larkin,
The Smiths,
Frankie Knuckles,
Pussy Galore,
Camberwell Now,
Organ,
John Foxx,
Liliput,
Eddi Front,
Matthew Halsall,
the Fania All-Stars,
the Sonics,
The Fall,
Toni Rubio,
Marmalade,
Danielle Patucci,
The New Christs,
Little Man,
The West Coast Pop Art Experimental Band,
Gerry Rafferty,
The Divine Comedy,
MC5,
Oblivians,
Funkadelic,
The Five Americans,
Godley & Creme,
Malaria!,
Reagan Youth,
Joey Negro,
Bobby Byrd,
Scion,
Jerry's Kids,
Nation of Ulysses,
Richard Hell and the Voidoids,
Bobbi Humphrey,
Sparks,
Flash Fearless,
Selector Dub Narcotic,
Patti Smith,
Marine Girls,
Ten City,
Brothers Johnson,
John Coltrane,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.