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 Chad and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1975.
I'm losing my edge.
To all the kids in Paris and Columbus.
I'm losing my edge to the art-school Glasgow 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 Wire practice in a loft in Watford.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Funkadelic to the rock 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 Marine Girls. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Liliput 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Animal Collective,
Sight & Sound,
Circle Jerks,
Letta Mbulu,
Aural Exciters,
The Skatalites,
The Modern Lovers,
Major Organ And The Adding Machine,
Delta 5,
Brick,
Barry Ungar,
Symarip,
Altered Images,
Fort Wilson Riot,
The Saints,
Pagans,
Graham Central Station,
Sound Behaviour,
The Misunderstood,
Qualms,
Pete Rock & C.L. Smooth,
The Young Rascals,
Deepchord,
Fear,
Cheater Slicks,
Liliput,
Lightning Bolt,
Steve Hackett,
The Residents,
MDC,
Rod Modell,
The Star Department,
Angry Samoans,
Model 500,
Flamin' Groovies,
Crime,
Ultra Naté,
Mo-Dettes,
Joe Finger,
Michelle Simonal,
Thee Headcoats,
Sunsets and Hearts,
Stiv Bators,
Visage,
Jeff Lynne,
The Real Kids,
Barclay James Harvest,
Bootsy's Rubber Band,
Sällskapet,
Dorothy Ashby,
T.S.O.L.,
World's Most,
A Certain Ratio,
Neu!,
Hardrive,
Kas Product,
Minutemen,
Laurel Aitken,
Heaven 17,
These Immortal Souls,
Kerri Chandler,
Hoover,
The Zeros,
The Doors, The Doors, The Doors, The Doors.
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.