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 Greece and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Spokane and Tokyo.
I'm losing my edge to the art-school Beijing 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Roxette to the grime 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 Camouflage. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal grime 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 an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
Minny Pops,
Dark Day,
Ossler,
Procol Harum,
Jesper Dahlback,
Deepchord,
Louis and Bebe Barron,
Piero Umiliani,
Clear Light,
The Buckinghams,
The Smiths,
Erykah Badu,
Bauhaus,
Gong,
Dead Boys,
Wally Richardson,
Metal Thangz,
Ten City,
Symarip,
Heavy D & The Boyz,
U.S. Maple,
Robert Hood,
Stetsasonic,
The Skatalites,
Nirvana,
The Jesus and Mary Chain,
China Crisis,
The Mummies,
Yellowson,
Minor Threat,
Masters at Work,
The Techniques,
Thompson Twins,
Little Man,
Fat Boys,
Bootsy's Rubber Band,
Kenny Larkin,
Angels of Light & Akron/Family,
Yazoo,
Ash Ra Tempel,
JFA,
The Gun Club,
AZ,
Barry Ungar,
Soulsonic Force,
Rhythim Is Rhythim,
Sun City Girls,
Fluxion,
Adolescents,
Idris Muhammad,
Johnny Clarke,
Glambeats Corp.,
The Blackbyrds,
Gary Puckett & The Union Gap,
Donald Byrd,
PIL,
Steve Hackett,
The West Coast Pop Art Experimental Band,
Delta 5,
Warren Ellis,
Hashim,
Bobby Hutcherson,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.