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 Kosovo and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1977.
I'm losing my edge.
To all the kids in Shanghai and Lagos.
I'm losing my edge to the art-school Lille 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Al Stewart to the funk 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 Bang on a Can All-Stars. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Byron Stingily 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 '70s cut and another box set from the '80s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Delon & Dalcan record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Charles Mingus,
Nation of Ulysses,
Cymande,
Bauhaus,
Bob Dylan,
Minny Pops,
Pantytec,
Ronnie Foster,
Saccharine Trust,
Sly & The Family Stone,
The Last Poets,
Con Funk Shun,
The Sisters of Mercy,
Eurythmics,
New York Dolls,
Sunsets and Hearts,
Lyres,
Pylon,
Kurtis Blow,
Selector Dub Narcotic,
Larry & the Blue Notes,
Boredoms,
Subhumans,
Cal Tjader,
Hashim,
Dark Day,
Oneida,
The Peanut Butter Conspiracy,
Silicon Teens,
Brass Construction,
Shoche,
Idris Muhammad,
the Bar-Kays,
Toni Rubio,
Newcleus,
The Vogues,
Fatback Band,
The Pretty Things,
The Moleskins,
Von Mondo,
The Leaves,
E-Dancer,
Negative Approach,
the Swans,
Urselle,
Jacques Brel,
The Victims,
Sarah Menescal,
Sound Behaviour,
Basic Channel,
Roxette,
Sticky Fingaz feat. Raekwon,
DJ Style,
Blossom Toes,
The Durutti Column,
Kevin Saunderson,
The Divine Comedy,
Marmalade,
Traffic Nightmare,
Severed Heads,
Scrapy,
The Motions,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.