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 Kenya and from Philadelphia.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Lille.
I'm losing my edge to the art-school Winnipeg 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the chamberlin 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 Gil Scott Heron to the techno 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 Spandau Ballet. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal electroclash 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 marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba 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 Velvet Underground,
Cameo,
The Evens,
Maurizio,
Jimmy McGriff,
Bobby Byrd,
Reagan Youth,
The Sisters of Mercy,
Sonny Sharrock,
The Trojans,
the Human League,
Icehouse,
T. Rex,
Dennis Brown,
Lucky Dragons,
Fort Wilson Riot,
Inner City,
Amon Düül II,
Jeff Mills,
Maleditus Sound,
Schoolly D,
Rekid,
Qualms,
Grandmaster Flash,
Judy Mowatt,
Rahsaan Roland Kirk,
Joey Negro,
Ultra Naté,
Byron Stingily,
The Durutti Column,
Lyres,
Bill Near,
Andrew Hill,
Colin Newman,
Sonic Youth,
Organ,
Talk Talk,
Pharaoh Sanders and the Fire Engines,
Andrew Ashong & Theo Parrish,
Joyce Sims,
The Cramps,
John Lydon,
Jandek,
Junior Murvin,
Cabaret Voltaire,
Ronan,
Jacques Brel,
LL Cool J,
Unrelated Segments,
Rufus Thomas,
Rakim,
Gang Green,
JFA,
Pere Ubu,
Skriet,
Stockholm Monsters,
New Age Steppers,
Mary Jane Girls,
Scion,
Selector Dub Narcotic,
Blancmange,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.