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 Comoros and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Cairo and Portland.
I'm losing my edge to the art-school Mexico City 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Jeff Lynne to the funk kids.
I played it at the Troubador.
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 Negative Approach. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every Eric Copeland record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
The Fuzztones,
Lower 48,
Nico,
Steve Hackett,
Michelle Simonal,
Vladislav Delay,
Motorama,
Brand Nubian,
Gong,
Kaleidoscope,
Hot Snakes,
Lonnie Liston Smith,
Connie Case,
Nas,
Mars,
Matthew Bourne,
Rites of Spring,
Arcadia,
Inner City,
Blake Baxter,
Todd Rundgren,
Subhumans,
Lakeside,
KRS-One,
Sexual Harrassment,
Can,
Yazoo,
the Sonics,
The West Coast Pop Art Experimental Band,
Ajijia Myrayebe,
Negative Approach,
the Swans,
The Young Rascals,
Maleditus Sound,
Fort Wilson Riot,
Anthony Braxton,
The Sonics,
Saccharine Trust,
Supertramp,
X-Ray Spex,
Swans,
Camron Feat. Memphis Bleek And Beenie Seigel,
Crime,
Agent Orange,
The Count Five,
Bang on a Can All-Stars,
Barry Ungar,
U.S. Maple,
Dark Day,
Bob Dylan,
The Modern Lovers,
Robert Hood,
the Germs,
Terry Callier,
Audionom,
Excepter,
Peter Gordon & Love of Life Orchestra,
John Cale,
The Dead C, The Dead C, The Dead C, The Dead C.
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.