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 Georgia and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Manila and Johannesburg.
I'm losing my edge to the art-school Bremen 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 oboe 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 The Red Krayola to the jazz 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 Althea and Donna. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Roxy Music,
Bad Manners,
DJ Style,
Dawn Penn,
The Human League,
Rosa Yemen,
Kerrie Biddell,
R.M.O.,
Soul II Soul,
Drexciya,
Gang Green,
Gian Franco Pienzio,
Dead Boys,
Amon Düül,
UT,
Grandmaster Flash and the Furious Five,
Tommy Roe,
Index,
Roy Ayers Ubiquity,
Organ,
The Monochrome Set,
The Fugs,
Country Joe & The Fish,
Public Image Ltd.,
Lower 48,
Liliput,
Vainqueur,
Joensuu 1685,
Essential Logic,
Wally Richardson,
Flipper,
Iggy Pop,
The Birthday Party,
Lizzy Mercier Descloux,
Sister Nancy,
Gil Scott-Heron & Brian Jackson,
Funky Four + One,
The West Coast Pop Art Experimental Band,
Sällskapet,
the Association,
DeepChord presents Echospace,
Lonnie Liston Smith,
Derrick May,
Joe Finger,
The Real Kids,
Aural Exciters,
Sun City Girls,
Marmalade,
Letta Mbulu,
Susan Cadogan,
Tubeway Army,
Yusef Lateef,
Crispian St. Peters,
The Offenders,
Spandau Ballet,
The Kinks,
New Age Steppers,
The Dirtbombs,
It's A Beautiful Day,
The Fall,
Godley & Creme,
Harry Pussy,
London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir.
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.