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 Milan.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1970.
I'm losing my edge.
To all the kids in Accra and Winnipeg.
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 spring reverb 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 Scratch Acid to the techno kids.
I played it at the Hacienda.
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 Pantytec. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every This Heat record on German import.
I heard that you have a white label of every seminal disco 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 guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Delta 5,
Judy Mowatt,
Country Joe & The Fish,
Bobby Womack,
Man Parrish,
Stetsasonic,
The Doors,
Soft Machine,
Babytalk,
Deakin,
Malaria!,
Electric Light Orchestra,
Lalann,
DNA,
Roger Hodgson,
Chris & Cosey,
48th St. Collective,
X-Ray Spex,
The Men They Couldn't Hang,
Scratch Acid,
Rotary Connection,
Hoover,
Bill Wells,
The Trojans,
Nas,
Pantytec,
Super Lover Cee & Casanova Rud,
Stereo Dub,
Cal Tjader,
Kool G Rap & DJ Polo,
The Fire Engines,
Leonard Cohen,
Theoretical Girls,
Oppenheimer Analysis,
Godley & Creme,
a-ha,
Bobby Byrd,
the Human League,
Gregory Isaacs,
Metal Thangz,
Johnny Osbourne,
Tres Demented,
Kaleidoscope,
Terrestrial Tones,
The Move,
Japan,
Ultravox,
Chrome,
Tom Boy,
Royal Trux,
ABC,
Tubeway Army,
Radiopuhelimet,
the Germs,
Red Lorry Yellow Lorry,
Accadde A,
Black Moon,
Brand Nubian,
Scientists,
Pylon,
Audionom,
Lebanon Hanover,
Suburban Knight, Suburban Knight, Suburban Knight, Suburban Knight.
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.