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 Barbados and from Cairo.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Houston and Johannesburg.
I'm losing my edge to the art-school Spokane 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the sitar 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 Slave to the jazz kids.
I played it at Cafe Wha.
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 Kango’s Stein Massive. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Hasil Adkins 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Stooges,
Strawberry Alarm Clock,
Deutsch Amerikanische Freundschaft,
the Slits,
The Techniques,
Grandmaster Flash and the Furious Five,
10cc,
JFA,
The Blues Magoos,
UT,
Cheater Slicks,
Heaven 17,
Bizarre Inc.,
De La Soul & Jungle Brothers,
Fela Kuti,
Circle Jerks,
Half Japanese,
Rakim,
Soul Sonic Force,
Dual Sessions,
Notorious BIG live in Amsterdam,
Brass Construction,
K-Klass,
Kool Moe Dee,
Warren Ellis,
Television,
The Slackers,
Jeff Lynne,
Judy Mowatt,
Ituana,
Adolescents,
The New Christs,
Joensuu 1685,
The Searchers,
The Mighty Diamonds,
Cal Tjader,
Skaos,
Darondo,
Roy Ayers,
World's Most,
Agent Orange,
Robert Hood,
Grandmaster Flash,
Alison Limerick,
Rufus Thomas,
Mo-Dettes,
Gang Gang Dance,
Radiopuhelimet,
Newcleus,
Peter & Gordon,
Roxette,
The Sonics,
Aswad,
Interpol,
Gregory Isaacs,
Minnie Riperton,
Fugazi,
Deepchord,
The Gladiators,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.