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 Uzbekistan and from Glasgow.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Paris and Woodstock.
I'm losing my edge to the art-school Philadelphia 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Alison Limerick to the rap kids.
I played it at the 40 Watt.
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 Smog. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every The Blackbyrds record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Sun Ra,
The Cowsills,
Dennis Brown,
John Lydon,
Fugazi,
Janne Schatter,
Fluxion,
Massinfluence,
Stockholm Monsters,
Neu!,
Big Daddy Kane,
Black Sheep,
Joe Finger,
Public Image Ltd.,
Shuggie Otis,
Sällskapet,
The Tremeloes,
Pete Rock & C.L. Smooth,
The Divine Comedy,
Wire,
Judy Mowatt,
Donny Hathaway,
Man Eating Sloth,
Tom Boy,
Lakeside,
Moss Icon,
Lucky Dragons,
Liliput,
Mandrill,
Sun Ra Arkestra,
Ponytail,
Index,
Camberwell Now,
Vainqueur,
Robert Görl,
Roxette,
Los Fastidios,
Idris Muhammad,
Wighnomy Brothers & Robag Wruhme,
The Zeros,
Roxy Music,
Barclay James Harvest,
Ice-T,
Malaria!,
AZ,
David Bowie,
Television,
JFA,
the Human League,
Johnny Osbourne,
Section 25,
Erykah Badu,
Sly & The Family Stone,
The Martian,
Supertramp,
Tears for Fears,
Donald Byrd,
Black Moon,
Mars,
Pantytec,
Ronan, Ronan, Ronan, Ronan.
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.