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 Madagascar and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Mumbai and New York.
I'm losing my edge to the art-school Philadelphia 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Letta Mbulu to the funk kids.
I played it at the Hacienda.
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 Terrestrial Tones. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Television 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
The Doors,
The Last Poets,
The Music Machine,
Oblivians,
New York Dolls,
Das Ding,
Harpers Bizarre,
Sun City Girls,
Ituana,
Gang Gang Dance,
Joe Finger,
Smog,
Eric Dolphy,
Fear,
Jandek,
The Divine Comedy,
Delon & Dalcan,
Surgeon,
Janne Schatter,
Arab on Radar,
Electric Prunes,
Man Eating Sloth,
Brand Nubian,
Outsiders,
Rapeman,
Neil Young,
Byron Stingily,
Deepchord,
David Bowie,
Unrelated Segments,
Bobby Byrd,
Hardrive,
Q65,
The Velvet Underground,
Dawn Penn,
Newcleus,
Minor Threat,
Gregory Isaacs,
The Count Five,
Lou Reed & Metallica,
Pagans,
John Cale,
Neu!,
The Moody Blues,
The Mummies,
Shuggie Otis,
Gichy Dan,
Frankie Knuckles,
The Fugs,
Flipper,
Babytalk,
Visionaries,LMNO, T- Love & Iriscience,
Half Japanese,
Wasted Youth,
Sad Lovers and Giants,
Pantytec,
Grandmaster Flash and the Furious Five,
Ornette Coleman,
Negative Approach,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.