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 Jordan and from Sao Paulo.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Houston and Glasgow.
I'm losing my edge to the art-school Mexico City 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 Chocolate Watch Band to the jazz kids.
I played it at the 40 Watt.
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 Pharoah Sanders. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every Prince Buster 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Lee Hazlewood,
The Black Dice,
Gregory Isaacs,
Bootsy's Rubber Band,
Heavy D & The Boyz,
The Evens,
a-ha,
Khruangbin,
Donny Hathaway,
Malaria!,
Visage,
The Star Department,
Scratch Acid,
Blancmange,
the Germs,
Sun Ra Arkestra,
Avey Tare,
June of 44,
The Associates,
Warsaw,
Pere Ubu,
Scion,
Black Flag,
Massinfluence,
Yusef Lateef,
Robert Wyatt,
David Axelrod,
These Immortal Souls,
Sällskapet,
The Dirtbombs,
The Barracudas,
The Flesh Eaters,
Ash Ra Tempel,
Franke,
Rapeman,
Whodini,
Tim Buckley,
Scrapy,
Major Organ And The Adding Machine,
The Happenings,
Dual Sessions,
The Doobie Brothers,
Maurizio,
Jacob Miller,
Connie Case,
Monks,
Funkadelic,
The United States of America,
Orchestral Manoeuvres in the Dark,
Marcia Griffiths,
Johnny Osbourne,
The Young Rascals,
Andrew Ashong & Theo Parrish,
Eden Ahbez,
The Names,
Niagra,
DeepChord presents Echospace,
Amazonics,
Bobby Byrd,
Neu!,
Lebanon Hanover,
ABC, ABC, ABC, ABC.
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.