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 Somalia and from Beijing.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1966 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and London.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the sitar sounds with much patience.
I was there when Holger Czukay 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 Rod Modell to the dance 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 Whodini. All the underground hits.
All MC5 tracks. I heard you have a vinyl of every Lebanon Hanover record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Rufus Thomas,
Flamin' Groovies,
The Gladiators,
James White and The Blacks,
The Royal Family And The Poor,
Main Source,
DJ Style,
Moss Icon,
Donald Byrd,
Rod Modell,
Amon Düül II,
Rekid,
Yazoo,
Patti Smith,
Davy DMX,
Shuggie Otis,
The Zeros,
Visage,
Bootsy's Rubber Band,
Second Layer,
The Flesh Eaters,
Accadde A,
Archie Shepp,
James Chance & The Contortions,
Monks,
Cameo,
The Peanut Butter Conspiracy,
Charles Mingus,
Basic Channel,
Grandmaster Flash and the Furious Five,
Gang Starr,
Icehouse,
Saccharine Trust,
the Slits,
The Kinks,
Ultravox,
Procol Harum,
The Pop Group,
Teenage Jesus and the Jerks,
The Mojo Men,
Man Eating Sloth,
Section 25,
Ponytail,
The Gun Club,
China Crisis,
Lyres,
London Community Gospel Choir,
The Grass Roots,
The Martian,
Moby Grape,
Crash Course in Science,
The Seeds,
Royal Trux,
Deadbeat,
Average White Band,
Glambeats Corp.,
Henry Cow,
Bill Near,
David McCallum,
Nas,
Half Japanese,
Das Ding,
Robert Hood,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.