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 Senegal and from Philadelphia.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
I'm losing my edge to the art-school Portland 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the sitar 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 Roger Hodgson to the punk kids.
I played it at the Hacienda.
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 Rapeman. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Urselle 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Brand Nubian,
Mantronix,
The Smoke,
Joy Division,
Big Daddy Kane,
U.S. Maple,
cv313,
Sun City Girls,
The Peanut Butter Conspiracy,
Los Fastidios,
The American Breed,
Parry Music,
Mark Hollis,
Eurythmics,
Gichy Dan,
DJ Style,
Kevin Saunderson,
Con Funk Shun,
The Alarm Clocks,
Harmonia,
Young Marble Giants,
The Men They Couldn't Hang,
Von Mondo,
Soul II Soul,
Wighnomy Brothers & Robag Wruhme,
Nik Kershaw,
Arcadia,
A Certain Ratio,
Make Up,
Black Moon,
Dual Sessions,
Yellowson,
Cluster,
David Axelrod,
The Cosmic Jokers,
Sparks,
June of 44,
Gil Scott-Heron & Brian Jackson,
MC5,
L. Decosne,
Sonic Youth,
Bobby Byrd,
Lonnie Liston Smith,
The Doors,
Gang Gang Dance,
Ituana,
Hardrive,
Kauko Röyhkä ja Narttu,
Outsiders,
EPMD,
Peter and Kerry,
Aswad,
Pierre Henry,
Absolute Body Control,
Vaughan Mason & Crew,
Ronan,
Groovy Waters,
The Offenders,
Sarah Menescal,
The Techniques,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.