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 Kazakhstan and from Stockholm.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Mumbai.
I'm losing my edge to the art-school Shanghai 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the arpeggiator 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 The Victims to the rap kids.
I played it at the Crocodile.
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 Lou Reed & John Cale. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Roger Hodgson record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sticky Fingaz feat. Raekwon,
Angry Samoans,
Lou Reed & John Cale,
London Community Gospel Choir,
R.M.O.,
The Sound,
Amon Düül,
48th St. Collective,
Tim Buckley,
Au Pairs,
The Invisible,
Pharoah Sanders,
Surgeon,
The Associates,
The Blackbyrds,
Ludus,
Judy Mowatt,
Hardrive,
The Velvet Underground,
Buzzcocks,
Amon Düül II,
Terry Callier,
The Happenings,
Heaven 17,
The Dave Clark Five,
Shuggie Otis,
Max Romeo,
Joey Negro,
The Shadows of Knight,
Peter & Gordon,
Audionom,
Rod Modell,
The Flesh Eaters,
Monks,
Severed Heads,
June of 44,
ABBA,
John Cale,
The Cowsills,
Soulsonic Force,
Bauhaus,
Spandau Ballet,
The Victims,
Amazonics,
Marcia Griffiths,
Interpol,
Charles Mingus,
Icehouse,
Flipper,
ABC,
Laurel Aitken,
Jerry Gold Smith,
Nik Kershaw,
Crispian St. Peters,
The Doobie Brothers,
Ultravox,
Bush Tetras,
Louis and Bebe Barron,
Ultra Naté,
Anakelly,
FM Einheit,
MC5,
Derrick May, Derrick May, Derrick May, Derrick May.
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.