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 Lebanon and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Bremen.
I'm losing my edge to the art-school Milan 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 American Breed to the jazz kids.
I played it at the Astoria.
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 Godley & Creme. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every Ken Boothe record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your organ and bought a marimba.
I hear that you and your band have sold your marimba and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Alison Limerick,
Swell Maps,
Pylon,
Orchestral Manoeuvres in the Dark,
The Slackers,
New Order,
Masters at Work,
Rotary Connection,
Throbbing Gristle,
Lee Hazlewood,
Con Funk Shun,
Gabor Szabo,
Fifty Foot Hose,
Adolescents,
Babytalk,
Subhumans,
Tommy Roe,
Ohio Players,
The Knickerbockers,
Grey Daturas,
Nick Fraelich,
De La Soul & Jungle Brothers,
Rapeman,
EPMD,
Louis and Bebe Barron,
Rod Modell,
Flipper,
Ultimate Spinach,
Ornette Coleman,
The Mummies,
Matthew Bourne,
The Trojans,
Black Pus,
Michelle Simonal,
The Blues Magoos,
Wasted Youth,
Selector Dub Narcotic,
Man Eating Sloth,
Morten Harket,
The Invisible,
Hashim,
Shoche,
The Music Machine,
Be Bop Deluxe,
The Peanut Butter Conspiracy,
Minnie Riperton,
Henry Cow,
The Cowsills,
Funkadelic,
Hoover,
Moss Icon,
Manfred Mann's Earth Band,
London Community Gospel Choir,
One Last Wish,
Frankie Knuckles,
Bobby Sherman,
The Smiths,
Hardrive,
Mo-Dettes,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.