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 Ukraine and from Salvador.
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 Halifax and Seoul.
I'm losing my edge to the art-school Columbus 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 1976 at the first Feelies practice in a loft in Haledon.
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 Jeru the Damaja to the electroclash 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 Minny Pops. All the underground hits.
All Blossom Toes tracks. I heard you have a vinyl of every The Evens 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 '70s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harmonia,
Laurel Aitken,
Banda Bassotti,
a-ha,
Sight & Sound,
Malaria!,
Lou Christie,
Grandmaster Flash,
E-Dancer,
The Misunderstood,
Bobby Womack,
Matthew Halsall,
The Busters,
Sun Ra,
Stockholm Monsters,
Graham Central Station,
The Cramps,
Masters at Work,
Quantec,
Kevin Saunderson,
Theoretical Girls,
Monolake,
Bobby Sherman,
UT,
the Bar-Kays,
Selector Dub Narcotic,
Con Funk Shun,
Make Up,
Kauko Röyhkä ja Narttu,
Popol Vuh,
Larry & the Blue Notes,
The Knickerbockers,
Mr. Review,
Scratch Acid,
Cameo,
Pharaoh Sanders and the Fire Engines,
Tom Boy,
Max Romeo,
Dead Boys,
Matthew Bourne,
Tim Buckley,
Interpol,
Mo-Dettes,
The Seeds,
Young Marble Giants,
Godley & Creme,
PIL,
Subhumans,
Lyres,
Dawn Penn,
A Flock of Seagulls,
Heaven 17,
Rhythm & Sound,
Yellowson,
Liaisons Dangereuses,
The Star Department,
Prince Buster,
Peter and Kerry,
Cheater Slicks,
Zapp,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.