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 Lesotho and from London.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1961 to 1976.
I'm losing my edge.
To all the kids in London and New York.
I'm losing my edge to the art-school Columbus 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 snare 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 Matthew Bourne to the funk kids.
I played it at Cafe Wha.
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 The Star Department. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Qualms record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
Porter Ricks,
The Smoke,
Robert Görl,
Marine Girls,
The Last Poets,
Amon Düül II,
Barbara Tucker,
Grandmaster Flash,
Ossler,
Heavy D & The Boyz,
John Holt,
Eve St. Jones,
Traffic Nightmare,
Rahsaan Roland Kirk,
Heaven 17,
The Flesh Eaters,
the Bar-Kays,
The Peanut Butter Conspiracy,
Sparks,
Tom Boy,
Jandek,
Mantronix,
Camron Feat. Memphis Bleek And Beenie Seigel,
Boogie Down Productions,
Swell Maps,
Nico,
Rod Modell,
The American Breed,
Masters at Work,
The Remains,
The Fugs,
In Retrospect,
Saccharine Trust,
F. McDonald,
Marc Almond,
John Coltrane,
Mary Jane Girls,
Gary Puckett & The Union Gap,
Country Joe & The Fish,
Delon & Dalcan,
Cabaret Voltaire,
Peter & Gordon,
Gabor Szabo,
Althea and Donna,
Joy Division,
The Angels of Light,
the Sonics,
Depeche Mode,
The Durutti Column,
Metal Thangz,
Piero Umiliani,
Reuben Wilson,
John Foxx,
One Last Wish,
Theoretical Girls,
Major Organ And The Adding Machine,
The Happenings, The Happenings, The Happenings, The Happenings.
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.