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 New Zealand 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 1964 to 1978.
I'm losing my edge.
To all the kids in Columbus and London.
I'm losing my edge to the art-school Madrid 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 Feelies practice in a loft in Haledon.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Jerry Gold Smith to the funk 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 John Foxx. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Joe Smooth 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 '70s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gerry Rafferty,
Clear Light,
Albert Ayler,
Con Funk Shun,
China Crisis,
Archie Shepp,
Letta Mbulu,
Byron Stingily,
Eurythmics,
Eve St. Jones,
Grandmaster Flash and the Furious Five,
Trumans Water,
Scan 7,
Alice Coltrane,
48th St. Collective,
Siglo XX,
Soul Sonic Force,
Beasts of Bourbon,
Deutsch Amerikanische Freundschaft,
A Certain Ratio,
Schoolly D,
Joyce Sims,
Agent Orange,
DJ Style,
Marine Girls,
The Sisters of Mercy,
Oppenheimer Analysis,
The Pop Group,
Electric Light Orchestra,
Selector Dub Narcotic,
Delon & Dalcan,
Boz Scaggs,
Main Source,
Half Japanese,
The Doobie Brothers,
Nick Fraelich,
The Birthday Party,
LL Cool J,
Fear,
Agitation Free,
Brass Construction,
UT,
Monolake,
The Barracudas,
Bush Tetras,
Infiniti,
Skaos,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ken Boothe,
Franke,
Gang Green,
The Monochrome Set,
Scrapy,
The Flesh Eaters,
Big Daddy Kane,
Youth Brigade,
Darondo,
Toni Rubio,
Throbbing Gristle,
Porter Ricks,
Crime,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.