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 Dominica and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Milan and Portland.
I'm losing my edge to the art-school Stockholm 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Marshall Jefferson to the rock kids.
I played it at the Spitz.
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 Standells. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Technova record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
The Grass Roots,
Ludus,
Sun Ra,
EPMD,
The Sound,
Althea and Donna,
The Modern Lovers,
Negative Approach,
Gil Scott-Heron & Brian Jackson,
Notorious Big And Bone Thugs,
Cameo,
Scrapy,
Beasts of Bourbon,
Deakin,
Saccharine Trust,
Moss Icon,
The Shadows of Knight,
Flash Fearless,
Matthew Bourne,
Thinking Fellers Union Local 282,
Justin Hinds & The Dominoes,
Organ,
Urselle,
Television Personalities,
The Walker Brothers,
The Names,
Bill Wells,
Moebius,
Parry Music,
Bizarre Inc.,
Black Flag,
Delon & Dalcan,
F. McDonald,
Jandek,
The Victims,
Rhythim Is Rhythim,
the Normal,
The Trojans,
Dual Sessions,
Anthony Braxton,
The Evens,
Procol Harum,
Joe Finger,
KRS-One,
Sun City Girls,
Babytalk,
Mad Mike,
The Mojo Men,
Henry Cow,
Kerrie Biddell,
Desert Stars,
The West Coast Pop Art Experimental Band,
Talk Talk,
New Age Steppers,
Radiopuhelimet,
Roxette,
Little Man,
The Dave Clark Five,
Jerry Gold Smith,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.