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 Maldives and from Toronto.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Lille and Sao Paulo.
I'm losing my edge to the art-school Stockholm 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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum 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 B.T. Express to the crunk 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 Bad Manners. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Be Bop Deluxe 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Scion,
Peter & Gordon,
Arab on Radar,
World's Most,
Bobby Sherman,
New York Dolls,
Radiohead,
The American Breed,
Ralphi Rosario,
La Düsseldorf,
Anthony Braxton,
Lower 48,
Fatback Band,
Magma,
John Foxx,
The Kinks,
Godley & Creme,
Ice-T,
Terry Callier,
Banda Bassotti,
Eric Copeland,
Matthew Halsall,
The Royal Family And The Poor,
Mantronix,
Crispian St. Peters,
The Doobie Brothers,
The Shadows of Knight,
Nik Kershaw,
Negative Approach,
Japan,
Avey Tare's Slasher Flicks,
Traffic Nightmare,
Jimmy McGriff,
Nas,
Albert Ayler,
Drive Like Jehu,
Ronnie Foster,
the Normal,
R.M.O.,
Wolf Eyes,
Dave Gahan,
Stetsasonic,
Skriet,
The Fuzztones,
Y Pants,
the Swans,
Bluetip,
Darondo,
Tomorrow,
Terror Squad Feat. Camron,
The Martian,
Public Image Ltd.,
Schoolly D,
Oneida,
Dennis Brown,
Barclay James Harvest,
Los Fastidios,
Absolute Body Control,
The Litter,
Buzzcocks,
Max Romeo,
The Knickerbockers, The Knickerbockers, The Knickerbockers, The Knickerbockers.
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.