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 Madagascar and from Glasgow.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Paris and Houston.
I'm losing my edge to the art-school Manila 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 oboe 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 The Fire Engines to the techno kids.
I played it at the Astoria.
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 Minnie Riperton. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal funk 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 güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Gap Band record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Connie Case,
Bronski Beat,
Lou Reed & John Cale,
Deutsch Amerikanische Freundschaft,
Heaven 17,
The Remains,
Gil Scott-Heron & Brian Jackson,
Supertramp,
Bang on a Can All-Stars,
F. McDonald,
Banda Bassotti,
Crime,
The Victims,
Gang of Four,
Flipper,
Aloha Tigers,
Judy Mowatt,
The Buckinghams,
The Misunderstood,
Ultravox,
Patti Smith,
Lee Hazlewood,
Skaos,
Procol Harum,
John Coltrane,
Lightning Bolt,
Kango’s Stein Massive,
Rowland S Howard / Lydia Lunch,
Toni Rubio,
Wolf Eyes,
The Busters,
Faraquet,
Roy Ayers Ubiquity,
The Cowsills,
Donald Byrd,
Selector Dub Narcotic,
MC5,
Brick,
The Walker Brothers,
Sun City Girls,
Kool G Rap & DJ Polo,
Japan,
Malaria!,
Boz Scaggs,
N.O.R.E. Featuring Pharrell,
Kevin Saunderson,
Pylon,
Oneida,
Avey Tare & Kría Brekkan,
The Smoke,
Lakeside,
Kurtis Blow,
Clear Light,
Schoolly D,
Quando Quango,
Swans,
Cluster,
Das Ding,
Josef K,
Glenn Branca,
The Cramps,
Brass Construction,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.