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 Philippines and from Shanghai.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Shanghai and Tehran.
I'm losing my edge to the art-school Johannesburg 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 guitar 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 the Fania All-Stars to the grime kids.
I played it at the Spitz.
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 Dual Sessions. All the underground hits.
All Chris Corsano tracks. I heard you have a vinyl of every kango's stein massive record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Severed Heads record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Main Source,
Donny Hathaway,
In Retrospect,
Super Lover Cee & Casanova Rud,
Eden Ahbez,
The Black Dice,
The Fire Engines,
Tubeway Army,
Brass Construction,
Ituana,
Faraquet,
Peter Gordon & Love of Life Orchestra,
Tom Boy,
Grey Daturas,
Joe Finger,
These Immortal Souls,
The Move,
Rakim,
Wire,
Traffic Nightmare,
Kauko Röyhkä ja Narttu,
Silicon Teens,
Lou Reed,
Circle Jerks,
Rhythim Is Rhythim,
L. Decosne,
Chrome,
Steve Hackett,
Minny Pops,
Hashim,
Newcleus,
Neu!,
Procol Harum,
Negative Approach,
Das Ding,
Bill Near,
Mo-Dettes,
Amon Düül,
Sonny Sharrock,
Susan Cadogan,
Sunsets and Hearts,
Graham Central Station,
Wolf Eyes,
June of 44,
Gregory Isaacs,
Notorious Big And Bone Thugs,
The Five Americans,
The Mummies,
Fear,
Cheater Slicks,
Hasil Adkins,
Crooked Eye,
Alphaville,
Scrapy,
Cameo,
the Swans,
Fugazi,
Judy Mowatt,
X-102,
Derrick Morgan,
Smog,
Section 25, Section 25, Section 25, Section 25.
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.