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 Kyrgyzstan and from Milan.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Toronto and Philadelphia.
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 sitar sounds with much patience.
I was there when Donald Fagen 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 Country Joe & The Fish to the jazz 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 Lou Reed. All the underground hits.
All Television tracks. I heard you have a vinyl of every Kerrie Biddell record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxy Music,
Alison Limerick,
Jeff Mills,
Intrusion,
Anakelly,
Brick,
Scott Walker,
Newcleus,
JFA,
Ludus,
Sonic Youth,
Hoover,
Barclay James Harvest,
Joey Negro,
Bad Manners,
Absolute Body Control,
Tommy Roe,
Sun City Girls,
Organ,
Dorothy Ashby,
The Human League,
The Sisters of Mercy,
Zapp,
The Index,
Sandy B,
cv313,
Ohio Players,
Can,
The Mummies,
Deakin,
Banda Bassotti,
Delon & Dalcan,
The Vogues,
Ossler,
Amon Düül II,
Monolake,
The Searchers,
Darondo,
Pharaoh Sanders and the Fire Engines,
The J.B.'s,
Massinfluence,
Rosa Yemen,
EPMD,
Pete Rock & C.L. Smooth,
The West Coast Pop Art Experimental Band,
Pere Ubu,
T.S.O.L.,
Rakim,
Jeff Lynne,
Roxette,
Grauzone,
Bobby Sherman,
Marshall Jefferson,
The Fuzztones,
Cluster,
Rites of Spring,
China Crisis,
Khruangbin,
The Five Americans,
Cal Tjader,
Joy Division,
Lower 48,
Albert Ayler,
The Golliwogs,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.