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 Algeria and from Copenhagen.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Calgary and Glasgow.
I'm losing my edge to the art-school Salvador 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 rhodes 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 Lizzy Mercier Descloux to the funk kids.
I played it at Trash.
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 Jacques Brel. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every Roxy Music record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your organ and bought a guitar.
I hear that you and your band have sold your guitar and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
Susan Cadogan,
Andrew Ashong & Theo Parrish,
Television Personalities,
Sällskapet,
The Fortunes,
Icehouse,
Stiv Bators,
Andrew Hill,
MC5,
Sound Behaviour,
The Durutti Column,
Todd Rundgren,
Siglo XX,
Electric Prunes,
Fifty Foot Hose,
The Sonics,
Pharaoh Sanders and the Fire Engines,
Black Pus,
Negative Approach,
Rhythm & Sound,
Sexual Harrassment,
Electric Light Orchestra,
Robert Hood,
John Holt,
Piero Umiliani,
Deutsch Amerikanische Freundschaft,
48th St. Collective,
Jawbox,
Joe Finger,
Deepchord,
Lou Christie,
Skaos,
UT,
Eden Ahbez,
Unrelated Segments,
Masters at Work,
Roger Hodgson,
The Slits,
Todd Terry,
The Velvet Underground,
Motorama,
Michelle Simonal,
Peter & Gordon,
Jesper Dahlback,
X-Ray Spex,
Ultramagnetic MC's,
Monks,
Peter and Kerry,
the Slits,
Röyhkä ja Rättö ja Lehtisalo,
Barclay James Harvest,
Grandmaster Flash and the Furious Five,
10cc,
Bang on a Can All-Stars,
Josef K,
La Düsseldorf,
Wolf Eyes,
Wings,
Lindisfarne,
Wighnomy Brothers & Robag Wruhme,
The Motions,
Bush Tetras,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.