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 Ivory Coast and from Cairo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1974.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
I'm losing my edge to the art-school Copenhagen 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 organ sounds with much patience.
I was there when Michael McDonald 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 Moby Grape to the jazz kids.
I played it at the 40 Watt.
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 The Mighty Diamonds tracks. I heard you have a vinyl of every Robert Hood 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Soulsonic Force,
The Toasters,
Siouxsie and the Banshees,
E-Dancer,
CMW,
Major Organ And The Adding Machine,
The Move,
Qualms,
World's Most,
Sly & The Family Stone,
Sparks,
Siglo XX,
Banda Bassotti,
Pet Shop Boys,
The Wake,
a-ha,
Connie Case,
Rahsaan Roland Kirk,
Oppenheimer Analysis,
Supertramp,
Black Moon,
Cal Tjader,
Warsaw,
Television Personalities,
Nirvana,
Symarip,
Flamin' Groovies,
Nick Cave & The Bad Seeds,
Fat Boys,
Angry Samoans,
Dead Boys,
Albert Ayler,
Easy Going,
UT,
Masters at Work,
Mars,
The Shadows of Knight,
Soul Sonic Force,
Boz Scaggs,
Spandau Ballet,
Ultimate Spinach,
The Sonics,
the Slits,
Matthew Halsall,
Eli Mardock,
Sandy B,
Lightning Bolt,
Half Japanese,
The Moody Blues,
Dr. Dre and Snoop Doggy Dog,
Zero Boys,
The Golliwogs,
Bluetip,
Althea and Donna,
The Modern Lovers,
Vladislav Delay,
Lalann,
The Gladiators,
Man Eating Sloth,
Andrew Ashong & Theo Parrish,
Cecil Taylor,
Massinfluence,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.