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 Panama and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Seoul and Johannesburg.
I'm losing my edge to the art-school Salvador 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 güiro 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 The Monks to the rap 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 Marcia Griffiths. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Camron Feat. Memphis Bleek And Beenie Seigel,
Charles Mingus,
Scion,
Ponytail,
Avey Tare,
The Searchers,
Infiniti,
John Foxx,
the Germs,
Nils Olav,
the Normal,
cv313,
Rotary Connection,
Eurythmics,
Todd Terry,
Yusef Lateef,
Vaughan Mason & Crew,
Strawberry Alarm Clock,
Depeche Mode,
Moebius,
Television Personalities,
The Fugs,
Liaisons Dangereuses,
Icehouse,
PIL,
Glenn Branca,
Nick Fraelich,
Skarface,
Soft Cell,
The Velvet Underground,
Ice-T,
Camberwell Now,
Ash Ra Tempel,
UT,
Nation of Ulysses,
Nik Kershaw,
Ohio Players,
The Monks,
De La Soul & Jungle Brothers,
Heaven 17,
Gang Starr,
New Age Steppers,
Sex Pistols,
The Move,
DNA,
Juan Atkins,
Faust,
Anthony Braxton,
Rod Modell,
Fad Gadget,
Gil Scott-Heron and Jamie xx,
Magazine,
Jacques Brel,
Derrick Morgan,
Delta 5,
Echo & the Bunnymen,
Traffic Nightmare,
Johnny Osbourne,
The Peanut Butter Conspiracy,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.