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 Macedonia and from Accra.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Woodstock.
I'm losing my edge to the art-school Spokane 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Banda Bassotti to the techno kids.
I played it at the Troubador.
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 Y Pants. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every The Skatalites record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Qualms,
Dark Day,
The Toasters,
K-Klass,
Strawberry Alarm Clock,
R.M.O.,
A Certain Ratio,
Dennis Brown,
Gabor Szabo,
Rekid,
Japan,
the Fania All-Stars,
Glambeats Corp.,
Bauhaus,
Heaven 17,
Ituana,
Subhumans,
ABC,
Charles Mingus,
Eddi Front,
Tom Boy,
Gian Franco Pienzio,
Inner City,
OOIOO,
Cabaret Voltaire,
Vaughan Mason & Crew,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Modern Lovers,
48th St. Collective,
Hoover,
Monks,
Marvin Gaye,
Delta 5,
The Flesh Eaters,
Amazonics,
Grey Daturas,
Loose Ends,
Toni Rubio,
Camron Feat. Jay Z And Juelz,
Andrew Hill,
Ultramagnetic MC's,
The Blackbyrds,
the Swans,
Ludus,
The Pretty Things,
Sight & Sound,
Sonny Sharrock,
David McCallum,
Eyeless In Gaza,
Aural Exciters,
Bobby Womack,
Siouxsie and the Banshees,
Gang Gang Dance,
Al Stewart,
Juan Atkins,
The Pop Group,
Don Cherry,
Section 25,
Dual Sessions,
Junior Murvin,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.