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 Belarus and from Jakarta.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 Tehran and Hong Kong.
I'm losing my edge to the art-school Tokyo 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 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 Derrick May to the rap kids.
I played it at the Troubador.
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 Eric Copeland. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every Cybotron 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Men They Couldn't Hang record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Bootsy Collins,
Derrick Morgan,
Sugar Minott,
48th St. Collective,
Stiv Bators,
Piero Umiliani,
Kerri Chandler,
The Gun Club,
Scott Walker + Sunn O))),
The Fuzztones,
Peter & Gordon,
Quantec,
Lee Hazlewood,
Stereo Dub,
Kaleidoscope,
The Cure,
T.S.O.L.,
Basic Channel,
Black Moon,
Crispian St. Peters,
Spoonie Gee,
Pylon,
Kenny Larkin,
Camouflage,
Pharoah Sanders,
Reuben Wilson,
Livin' Joy,
Bobby Sherman,
La Düsseldorf,
R.M.O.,
Supertramp,
Ultra Naté,
Talk Talk,
Depeche Mode,
Arab on Radar,
The Techniques,
Liliput,
Neil Young & Crazy Horse,
OOIOO,
Susan Cadogan,
Wasted Youth,
Monks,
Lou Reed & John Cale,
The Barracudas,
Mandrill,
Spandau Ballet,
Ohio Players,
Mary Jane Girls,
Gregory Isaacs,
D'Angelo,
Sonic Youth,
Vainqueur,
Deakin,
Marc Almond,
Andrew Hill,
This Heat,
Freddie Wadling,
Leonard Cohen,
Red Lorry Yellow Lorry,
the Slits,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.