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 Macedonia and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1978.
I'm losing my edge.
To all the kids in Philadelphia and Hong Kong.
I'm losing my edge to the art-school Bremen 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 synthesizer 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 The Happenings to the punk 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 Crispian St. Peters. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
Ultimate Spinach,
Ultramagnetic MC's,
London Community Gospel Choir,
Desert Stars,
The Techniques,
Babytalk,
the Slits,
Camron Feat. Memphis Bleek And Beenie Seigel,
Section 25,
Fluxion,
Pantaleimon,
The Velvet Underground,
the Bar-Kays,
Eric Copeland,
The Fire Engines,
Pere Ubu,
Michelle Simonal,
Neil Young & Crazy Horse,
Frankie Knuckles,
Saccharine Trust,
Byron Stingily,
Funky Four + One,
La Düsseldorf,
Danielle Patucci,
Main Source,
Kauko Röyhkä ja Narttu,
a-ha,
Amon Düül II,
Fatback Band,
The Grass Roots,
Ludus,
Visionaries,LMNO, T- Love & Iriscience,
The Gun Club,
Yaz,
Minor Threat,
Marc Almond,
The Real Kids,
The Smoke,
The United States of America,
Pylon,
Lee Hazlewood,
China Crisis,
The Tremeloes,
The Doors,
Cluster,
Parry Music,
LL Cool J,
Todd Terry,
Japan,
Larry & the Blue Notes,
Suicide,
Sugar Minott,
Selector Dub Narcotic,
Toni Rubio,
Gang Gang Dance,
Roy Ayers,
The New Christs,
Soul II Soul,
Morten Harket,
Khruangbin,
Howard Jones,
Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud.
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.