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 Greece and from Milan.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Taipei.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the theremin sounds with much patience.
I was there when David Bowie 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 Alice Coltrane 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 Index. All the underground hits.
All Average White Band tracks. I heard you have a vinyl of every Tim Buckley 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sonics,
The Gladiators,
Echo & the Bunnymen,
Strawberry Alarm Clock,
Henry Cow,
Ten City,
The West Coast Pop Art Experimental Band,
Toni Rubio,
Rakim,
Talk Talk,
Nirvana,
The Martian,
Grandmaster Flash and the Furious Five,
The Star Department,
Leonard Cohen,
Gerry Rafferty,
Ken Boothe,
Davy DMX,
Maurizio,
Fela Kuti,
Chris & Cosey,
Aswad,
Fort Wilson Riot,
Aural Exciters,
Outsiders,
The American Breed,
Grauzone,
Crash Course in Science,
Oblivians,
Ronnie Foster,
Brothers Johnson,
John Cale,
Basic Channel,
Bobby Womack,
Deadbeat,
Symarip,
Subhumans,
The Pretty Things,
Peter Gordon & Love of Life Orchestra,
Agent Orange,
The Fire Engines,
Mandrill,
Scan 7,
David McCallum,
B.T. Express,
Eddi Front,
The Last Poets,
Mantronix,
Maleditus Sound,
Sam Rivers,
Q and Not U,
La Düsseldorf,
Jawbox,
Q65,
Sarah Menescal,
CMW,
John Coltrane,
Delon & Dalcan,
Soul II Soul,
Sly & The Family Stone,
Lakeside,
Vaughan Mason & Crew,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.