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 Brazil and from Manchester.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Milan and New York.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 Brass Construction to the grime kids.
I played it at CBGB's.
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 Stetsasonic. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Warsaw 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Kerri Chandler record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
D'Angelo,
Icehouse,
The Index,
Eddi Front,
Masters at Work,
Peter & Gordon,
Barclay James Harvest,
Section 25,
Unwound,
Funky Four + One,
Lou Reed & John Cale,
Motorama,
Hoover,
Young Marble Giants,
The United States of America,
The Selecter,
Richard Hell and the Voidoids,
The Slits,
Sonny Sharrock,
Lungfish,
the Normal,
T. Rex,
Camouflage,
Derrick Morgan,
Model 500,
Fatback Band,
Terry Callier,
A Certain Ratio,
Archie Shepp,
Roxy Music,
Siouxsie and the Banshees,
Todd Rundgren,
Selector Dub Narcotic,
Rhythm & Sound,
Aaron Thompson,
Reagan Youth,
kango's stein massive,
X-101,
Heaven 17,
Deepchord,
X-Ray Spex,
Gabor Szabo,
The Peanut Butter Conspiracy,
Dorothy Ashby,
Kevin Saunderson,
The Mighty Diamonds,
Negative Approach,
Radiopuhelimet,
Deakin,
Sex Pistols,
Guru Guru,
The Detroit Cobras,
Rakim,
The Sisters of Mercy,
Sixth Finger,
Dennis Brown,
48th St. Collective,
Joy Division,
Black Moon, Black Moon, Black Moon, Black Moon.
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.