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 El Salvador and from Manila.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Toronto and Cairo.
I'm losing my edge to the art-school Paris 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 snare sounds with much patience.
I was there when Robert Palmer 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 Desert Stars to the electroclash kids.
I played it at the 40 Watt.
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 Bill Near. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every 48th St. Collective record on German import.
I heard that you have a white label of every seminal crunk 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 clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Sällskapet,
Curtis Mayfield,
Livin' Joy,
Cameo,
Crash Course in Science,
Franke,
John Coltrane,
Skriet,
KRS-One,
Hashim,
Qualms,
The Doors,
Kings Of Tomorrow,
Scion,
Sex Pistols,
Monks,
Ronan,
Ultimate Spinach,
David Bowie,
Faraquet,
The Remains,
ABC,
Wolf Eyes,
Hot Snakes,
Ponytail,
Siglo XX,
Rotary Connection,
Public Image Ltd.,
The Gories,
The Sisters of Mercy,
the Bar-Kays,
Deepchord,
Babytalk,
Little Man,
Barrington Levy,
Rowland S Howard / Lydia Lunch,
Lungfish,
Deutsch Amerikanische Freundschaft,
Eurythmics,
Swell Maps,
The Cramps,
Harpers Bizarre,
Visage,
the Normal,
New Age Steppers,
Roy Ayers Ubiquity,
Fatback Band,
Drexciya,
Suburban Knight,
Basic Channel,
The Cowsills,
Matthew Halsall,
The Sonics,
Cabaret Voltaire,
Fort Wilson Riot,
The Gladiators,
Scratch Acid,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.