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 Ukraine and from Spokane.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1974.
I'm losing my edge.
To all the kids in Manchester and New York.
I'm losing my edge to the art-school Winnipeg 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 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 Derrick Morgan to the jazz kids.
I played it at the Hacienda.
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 Max Romeo. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Lower 48 record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a rhodes 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 snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sister Nancy,
the Normal,
Alison Limerick,
Drive Like Jehu,
Nils Olav,
Icehouse,
Public Enemy,
Cluster,
Sixth Finger,
Underground Resistance,
Rhythim Is Rhythim,
Black Pus,
The Chocolate Watch Band,
Matthew Halsall,
Silicon Teens,
48th St. Collective,
Jeff Mills,
Barbara Tucker,
Rhythm & Sound,
cv313,
La Düsseldorf,
Freddie Wadling,
The Velvet Underground,
Loose Ends,
John Foxx,
Gil Scott-Heron & Brian Jackson,
Crispian St. Peters,
Crooked Eye,
Electric Light Orchestra,
Archie Shepp,
Traffic Nightmare,
Guru Guru,
Rod Modell,
Lindisfarne,
Rahsaan Roland Kirk,
The Gun Club,
Ornette Coleman,
Funkadelic,
Supertramp,
Notorious Big And Bone Thugs,
Deutsch Amerikanische Freundschaft,
R.M.O.,
Flamin' Groovies,
Brothers Johnson,
The Grass Roots,
Joyce Sims,
Gang of Four,
The Seeds,
Althea and Donna,
Bobby Sherman,
Nas,
Peter and Kerry,
The Fire Engines,
The Pretty Things,
Bootsy Collins,
Pagans,
The Moody Blues,
Vladislav Delay,
Sexual Harrassment,
Strawberry Alarm Clock,
Swans,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.