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 Jamaica and from Delhi.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Spokane and Cairo.
I'm losing my edge to the art-school Beijing 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Tomorrow to the disco 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 Jawbox. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Supertramp record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Jawbox record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
Jeff Lynne,
One Last Wish,
Dorothy Ashby,
Tommy Roe,
the Normal,
The Five Americans,
Joensuu 1685,
Oppenheimer Analysis,
Dark Day,
Black Moon,
Fad Gadget,
The Mojo Men,
Sonic Youth,
Marine Girls,
Audionom,
Pylon,
Pharoah Sanders,
The Stooges,
Connie Case,
Mad Mike,
Slave,
The Detroit Cobras,
Gang Gang Dance,
The Music Machine,
Mars,
Cameo,
Brand Nubian,
Hot Snakes,
Pussy Galore,
Notorious Big And Bone Thugs,
Roger Hodgson,
Massinfluence,
Gong,
Supertramp,
Eden Ahbez,
Swell Maps,
Rites of Spring,
Quando Quango,
The Offenders,
Rapeman,
Depeche Mode,
Make Up,
Quantec,
Throbbing Gristle,
Gil Scott-Heron and Jamie xx,
Arab on Radar,
Can,
DNA,
Gastr Del Sol,
Matthew Bourne,
Curtis Mayfield,
The Electric Prunes,
Eddi Front,
Alice Coltrane,
Michelle Simonal,
Second Layer,
Boz Scaggs,
Accadde A,
Jesper Dahlbäck,
New Order,
The Chocolate Watch Band,
Bronski Beat,
8 Eyed Spy,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.