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 Marshall Islands and from Bologna.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1974.
I'm losing my edge.
To all the kids in Paris and Bremen.
I'm losing my edge to the art-school Manchester 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Jerry Gold Smith to the grunge kids.
I played it at the Hacienda.
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 Roger Hodgson. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
The Trojans,
Ohio Players,
Red Lorry Yellow Lorry,
Brass Construction,
Oppenheimer Analysis,
Spoonie Gee,
Josef K,
Yazoo,
The Blues Magoos,
Lower 48,
Banda Bassotti,
Liaisons Dangereuses,
Heavy D & The Boyz,
These Immortal Souls,
Jandek,
Scan 7,
Lalann,
The Smoke,
Skriet,
UT,
Connie Case,
Teenage Jesus and the Jerks,
Oneida,
Harmonia,
Lou Christie,
Crash Course in Science,
Peter & Gordon,
Moebius,
the Human League,
Rod Modell,
Fela Kuti,
The Monks,
Gil Scott-Heron & Brian Jackson,
Lonnie Liston Smith,
Pharoah Sanders,
Gregory Isaacs,
Talk Talk,
Minny Pops,
The West Coast Pop Art Experimental Band,
Beasts of Bourbon,
Bobbi Humphrey,
DJ Sneak,
The Moody Blues,
Lou Reed & Metallica,
The Golliwogs,
Lee Hazlewood,
Radio Birdman,
Glambeats Corp.,
Max Romeo,
Frankie Knuckles,
the Bar-Kays,
Todd Rundgren,
Matthew Halsall,
Rapeman,
X-102,
Man Parrish,
The Fall,
Bobby Byrd,
Siglo XX,
Juan Atkins,
Second Layer,
ABC, ABC, ABC, ABC.
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.