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 Libya and from Lille.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Beijing and Calgary.
I'm losing my edge to the art-school Cairo 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 Strawberry Alarm Clock to the dance kids.
I played it at the Roxy.
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 Tears for Fears. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every The Golliwogs 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 '90s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Eric Copeland,
The Smiths,
Stockholm Monsters,
Suburban Knight,
Eden Ahbez,
D'Angelo,
Bootsy Collins,
Jeff Lynne,
Byron Stingily,
Severed Heads,
Los Fastidios,
Yazoo,
The Remains,
Mary Jane Girls,
Notorious BIG live in Amsterdam,
Fear,
Nas,
Gregory Isaacs,
Siglo XX,
Chrome,
Lonnie Liston Smith,
Rekid,
Charles Mingus,
the Slits,
Yaz,
Sandy B,
X-102,
Newcleus,
Jesper Dahlbäck,
Oppenheimer Analysis,
Henry Cow,
The Monochrome Set,
Traffic Nightmare,
Peter and Kerry,
Jeff Mills,
Monks,
Donald Byrd,
The Busters,
Ten City,
Wire,
Basic Channel,
Essential Logic,
Amon Düül II,
The Saints,
Rhythm & Sound,
the Germs,
Jeru the Damaja,
Darondo,
Bobby Hutcherson,
the Sonics,
ABC,
Franke,
Ajijia Myrayebe,
Ossler,
The Cosmic Jokers,
Sticky Fingaz feat. Raekwon,
Joyce Sims,
Derrick Morgan,
A Certain Ratio,
Rod Modell,
The Red Krayola, The Red Krayola, The Red Krayola, The Red Krayola.
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.