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 Pakistan and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Philadelphia.
I'm losing my edge to the art-school Tehran 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 linndrum 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 Soul II Soul to the grime kids.
I played it at the Astoria.
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 The Misunderstood. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Kings Of Tomorrow 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Aural Exciters,
Heavy D & The Boyz,
Derrick Morgan,
Byron Stingily,
The Grass Roots,
Orchestral Manoeuvres in the Dark,
Ossler,
Bang On A Can,
T. Rex,
Deakin,
Wolf Eyes,
The Golliwogs,
The American Breed,
Juan Atkins,
JFA,
Section 25,
Das Ding,
Television Personalities,
Babytalk,
B.T. Express,
Altered Images,
The Human League,
Albert Ayler,
Ohio Players,
Echospace,
Girls At Our Best!,
Isaac Hayes,
Magazine,
F. McDonald,
Eli Mardock,
a-ha,
Cymande,
Bootsy Collins,
Ultravox,
The Buckinghams,
the Germs,
Schoolly D,
Bizarre Inc.,
The Busters,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gichy Dan,
Tropical Tobacco,
Mary Jane Girls,
Sex Pistols,
Radiopuhelimet,
Amon Düül,
Slick Rick,
Deepchord,
The Saints,
Cecil Taylor,
Barclay James Harvest,
Gerry Rafferty,
The Cramps,
Frankie Knuckles,
Gang Green,
X-102,
Pussy Galore,
La Düsseldorf,
The Chocolate Watch Band,
Dual Sessions,
Moebius,
Q and Not U,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.