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 Cambodia and from Spokane.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Mexico City.
I'm losing my edge to the art-school Toronto 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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Goldenarms to the funk kids.
I played it at Cafe Wha.
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 Amon Düül. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every World's Most record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Davy DMX record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Tim Buckley,
Joyce Sims,
Gary Puckett & The Union Gap,
Patti Smith,
Siouxsie and the Banshees,
Hasil Adkins,
Cameo,
Todd Rundgren,
The Beau Brummels,
Susan Cadogan,
Ronnie Foster,
Alton Ellis,
Bill Wells,
Heaven 17,
Parry Music,
Donny Hathaway,
Buzzcocks,
Dark Day,
Ultra Naté,
Crime,
The New Christs,
Mandrill,
The Martian,
Al Stewart,
Roger Hodgson,
KRS-One,
Ronan,
Visage,
Blake Baxter,
ABBA,
James Chance & The Contortions,
The Moleskins,
Jesper Dahlback,
Soul II Soul,
Tears for Fears,
June of 44,
Juan Atkins,
H. Thieme,
The Happenings,
Lonnie Liston Smith,
This Heat,
Khruangbin,
The Monks,
John Coltrane,
Notorious Big And Bone Thugs,
Guru Guru,
Ornette Coleman,
Lou Christie,
The Motions,
The Leaves,
Johnny Osbourne,
Sandy B,
Porter Ricks,
Charles Mingus,
China Crisis,
The Golliwogs,
Yazoo,
Joensuu 1685,
Radiopuhelimet,
Scientists, Scientists, Scientists, Scientists.
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.