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 Italy and from Spokane.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Stockholm.
I'm losing my edge to the art-school Madrid 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 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 Camberwell Now to the funk kids.
I played it at the Hacienda.
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 Silicon Teens. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every Rod Modell record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
Wolf Eyes,
Hoover,
Graham Central Station,
Lucky Dragons,
Jesper Dahlback,
Avey Tare's Slasher Flicks,
Barry Ungar,
Tres Demented,
Radio Birdman,
Donald Byrd,
Maleditus Sound,
The Five Americans,
Yazoo,
Tears for Fears,
Ultramagnetic MC's,
Ponytail,
Underground Resistance,
Fela Kuti,
Hot Snakes,
Von Mondo,
Nirvana,
The Monochrome Set,
Glenn Branca,
Swell Maps,
K-Klass,
Brand Nubian,
Eurythmics,
Second Layer,
Khruangbin,
The United States of America,
Rahsaan Roland Kirk,
Circle Jerks,
Morten Harket,
The Dirtbombs,
Smog,
Radiopuhelimet,
Spandau Ballet,
Groovy Waters,
Pantaleimon,
Lyres,
Scion,
Fugazi,
Marvin Gaye,
Gil Scott-Heron & Brian Jackson,
Sly & The Family Stone,
MDC,
The Raincoats,
Theoretical Girls,
OOIOO,
Liliput,
Gregory Isaacs,
The Grass Roots,
Lee Hazlewood,
The Move,
Bad Manners,
John Foxx,
Monolake,
Camberwell Now,
Fifty Foot Hose,
A Certain Ratio,
Black Bananas,
The Standells, The Standells, The Standells, The Standells.
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.