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 Somalia and from Shanghai.
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 1972.
I'm losing my edge.
To all the kids in London and Portland.
I'm losing my edge to the art-school Lagos 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 harpsichord 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 Fatback Band to the crunk kids.
I played it at the Astoria.
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 Fat Boys. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Mark Hollis 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
These Immortal Souls,
Procol Harum,
Shuggie Otis,
Masters at Work,
Be Bop Deluxe,
The Mighty Diamonds,
The Sisters of Mercy,
Barrington Levy,
The Vogues,
The Fortunes,
48th St. Collective,
The Grass Roots,
Rahsaan Roland Kirk,
Nils Olav,
Scan 7,
Joensuu 1685,
Carl Craig,
Zero Boys,
Section 25,
Metal Thangz,
Roger Hodgson,
A Flock of Seagulls,
CMW,
Kango’s Stein Massive,
Robert Hood,
Sad Lovers and Giants,
Jeru the Damaja,
The Dirtbombs,
Electric Prunes,
Sugar Minott,
The Invisible,
The Sonics,
Terry Callier,
F. McDonald,
The Cramps,
John Holt,
Lyres,
Donny Hathaway,
Cabaret Voltaire,
The Royal Family And The Poor,
Echo & the Bunnymen,
Depeche Mode,
DeepChord presents Echospace,
The Electric Prunes,
Technova,
Liaisons Dangereuses,
U.S. Maple,
London Community Gospel Choir,
Magazine,
The Pop Group,
Ralphi Rosario,
OOIOO,
Flipper,
Gang of Four,
Babytalk,
The Leaves,
Lalo Schifrin,
Unrelated Segments,
Archie Shepp,
Kayak,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.