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 Vietnam and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Bremen and Bremen.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer 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 Rhythim Is Rhythim to the grime kids.
I played it at Trash.
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 Bluetip. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every Aaron Thompson 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare 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?
Lee Hazlewood,
Black Sheep,
Mad Mike,
Alton Ellis,
Main Source,
New York Dolls,
Absolute Body Control,
The Moleskins,
Lakeside,
Harpers Bizarre,
Jacob Miller,
Strawberry Alarm Clock,
Gil Scott-Heron and Jamie xx,
The Cure,
Public Image Ltd.,
T. Rex,
Ohio Players,
Mandrill,
Blake Baxter,
The Human League,
Japan,
Hardrive,
Deakin,
Sly & The Family Stone,
Dorothy Ashby,
Toni Rubio,
Mr. Review,
Alice Coltrane,
Joyce Sims,
Boz Scaggs,
Los Fastidios,
The Fortunes,
Ultramagnetic MC's,
Trumans Water,
Skaos,
Severed Heads,
Larry & the Blue Notes,
The Sisters of Mercy,
Sister Nancy,
MDC,
Prince Buster,
Super Lover Cee & Casanova Rud,
Howard Jones,
Jandek,
Jawbox,
Average White Band,
Hot Snakes,
Pete Rock & C.L. Smooth,
Visage,
Cheater Slicks,
The Knickerbockers,
Marshall Jefferson,
Lebanon Hanover,
Roy Ayers,
Avey Tare's Slasher Flicks,
Jesper Dahlback,
Glambeats Corp.,
Unrelated Segments,
The Fugs,
Eric Dolphy,
the Normal, the Normal, the Normal, the Normal.
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.