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 Australia and from Madrid.
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 1965 to 1975.
I'm losing my edge.
To all the kids in London and Johannesburg.
I'm losing my edge to the art-school Woodstock 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator 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 The Doors to the punk kids.
I played it at the Spitz.
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 Nils Olav. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every Los Fastidios record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Heavy D & The Boyz,
Supertramp,
The Black Dice,
Red Lorry Yellow Lorry,
Sex Pistols,
Janne Schatter,
The Standells,
The Slits,
Susan Cadogan,
The Wake,
the Normal,
Dark Day,
Robert Wyatt,
Stiv Bators,
Tres Demented,
James White and The Blacks,
Robert Hood,
The Beau Brummels,
Barclay James Harvest,
Country Joe & The Fish,
Strawberry Alarm Clock,
The Vogues,
The Saints,
Anakelly,
The Sound,
Kauko Röyhkä ja Narttu,
The Move,
Popol Vuh,
Rites of Spring,
Avey Tare & Kría Brekkan,
Scott Walker + Sunn O))),
Masters at Work,
Sun Ra Arkestra,
The West Coast Pop Art Experimental Band,
Sad Lovers and Giants,
Rotary Connection,
Procol Harum,
Black Flag,
The Young Rascals,
Slave,
Kas Product,
John Coltrane,
Neil Young & Crazy Horse,
The Modern Lovers,
The Stooges,
Junior Murvin,
kango's stein massive,
Sixth Finger,
Jacques Brel,
Grandmaster Flash,
Visage,
Marc Almond,
The Fire Engines,
Scott Walker,
Andrew Hill,
Mars,
Joe Smooth,
Sound Behaviour,
Nick Fraelich,
Minny Pops,
R.M.O.,
The Detroit Cobras,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.