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 Lebanon and from Bologna.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Jakarta.
I'm losing my edge to the art-school Jakarta 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Notorious BIG live in Amsterdam to the dance kids.
I played it at the Crocodile.
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 The Techniques. All the underground hits.
All MC5 tracks. I heard you have a vinyl of every the Soft Cell record on German import.
I heard that you have a white label of every seminal rap 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 chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drexciya,
Davy DMX,
Man Parrish,
Interpol,
Bill Near,
the Germs,
Masters at Work,
Selector Dub Narcotic,
Slave,
Clear Light,
Suicide,
The Associates,
The Smiths,
Mars,
The Monks,
Charles Mingus,
Fluxion,
Model 500,
Roy Ayers Ubiquity,
The Smoke,
Skaos,
Alphaville,
Ludus,
Marvin Gaye,
Ituana,
The Golliwogs,
Erykah Badu,
Susan Cadogan,
Robert Hood,
Hardrive,
Rhythm & Sound,
Eden Ahbez,
Fela Kuti,
Sam Rivers,
Mantronix,
Toni Rubio,
In Retrospect,
Reagan Youth,
48th St. Collective,
kango's stein massive,
Art Ensemble Of Chicago,
Marshall Jefferson,
Moebius,
Mary Jane Girls,
Young Marble Giants,
Tropical Tobacco,
Kayak,
Eyeless In Gaza,
Moss Icon,
Major Organ And The Adding Machine,
Essential Logic,
Jacques Brel,
Stetsasonic,
Red Lorry Yellow Lorry,
The Royal Family And The Poor,
Iggy Pop,
Scan 7,
Roy Ayers,
Gregory Isaacs,
The Jesus and Mary Chain,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dawn Penn,
The Pop Group,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.