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 Israel and from Portland.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1966 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Houston.
I'm losing my edge to the art-school Shanghai 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 oboe 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 Stetsasonic to the punk 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 Connie Case. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal punk 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 a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Au Pairs,
Deutsch Amerikanische Freundschaft,
Thinking Fellers Union Local 282,
Severed Heads,
The Gories,
Visionaries,LMNO, T- Love & Iriscience,
Andrew Hill,
Lungfish,
Kool Moe Dee,
Jacques Brel,
Mantronix,
Throbbing Gristle,
Bob Dylan,
The Dead C,
Gang Gang Dance,
Blancmange,
the Germs,
The Black Dice,
The Men They Couldn't Hang,
Spandau Ballet,
Maurizio,
DNA,
Lafayette Afro Rock Band,
Index,
John Coltrane,
The Human League,
Captain Beefheart & His Magic Band,
Tommy Roe,
Moebius,
In Retrospect,
The Evens,
A Flock of Seagulls,
Accadde A,
Derrick Morgan,
Marmalade,
Skarface,
Kerrie Biddell,
The Fire Engines,
Lou Reed,
Jacob Miller,
Pet Shop Boys,
The Invisible,
The Searchers,
Dorothy Ashby,
Franke,
Niagra,
Yazoo,
Vaughan Mason & Crew,
Electric Light Orchestra,
Scion,
Althea and Donna,
Pantytec,
Essential Logic,
Eric Dolphy,
World's Most,
Matthew Bourne,
The Doobie Brothers,
Gary Puckett & The Union Gap,
Moss Icon,
Echo & the Bunnymen,
Shuggie Otis, Shuggie Otis, Shuggie Otis, Shuggie Otis.
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.