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 Saudi Arabia and from Manchester.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 Spokane and Houston.
I'm losing my edge to the art-school Tokyo 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 clarinet 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 Slick Rick to the disco kids.
I played it at the Astoria.
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 Roxette. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every The J.B.'s record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
The Peanut Butter Conspiracy,
The Modern Lovers,
Soft Machine,
Crash Course in Science,
The Gories,
Mr. Review,
Massinfluence,
The Move,
The Music Machine,
Silicon Teens,
The Vogues,
Man Parrish,
Gil Scott Heron,
B.T. Express,
The Royal Family And The Poor,
Magazine,
Curtis Mayfield,
Sparks,
This Heat,
Audionom,
Black Moon,
The Standells,
Jeru the Damaja,
Sam Rivers,
Al Stewart,
Trumans Water,
Jeff Lynne,
the Association,
Bobby Sherman,
Red Lorry Yellow Lorry,
John Holt,
Depeche Mode,
Yusef Lateef,
Eric Copeland,
Black Pus,
Big Daddy Kane,
Terrestrial Tones,
Freddie Wadling,
Slave,
Kas Product,
Animal Collective,
Khruangbin,
Robert Wyatt,
Notorious BIG live in Amsterdam,
Accadde A,
Jacques Brel,
Sugar Minott,
Derrick Morgan,
Urselle,
Gastr Del Sol,
Kango’s Stein Massive,
Blancmange,
The Smiths,
Blake Baxter,
the Human League,
Wings,
Buzzcocks,
Alton Ellis,
Ultramagnetic MC's,
The Saints,
Colin Newman,
Dawn Penn,
UT, UT, UT, UT.
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.