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 Uzbekistan and from Winnipeg.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Bremen.
I'm losing my edge to the art-school Bologna 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 808 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 Public Image Ltd. to the funk kids.
I played it at the Troubador.
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 Erykah Badu. All the underground hits.
All Delta 5 tracks. I heard you have a vinyl of every Lower 48 record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
AZ,
Thee Headcoats,
Piero Umiliani,
The Leaves,
Super Lover Cee & Casanova Rud,
The Young Rascals,
Glambeats Corp.,
Notorious BIG live in Amsterdam,
Technova,
The Fire Engines,
The Gladiators,
Anakelly,
Black Pus,
Procol Harum,
The Names,
Boz Scaggs,
Toni Rubio,
the Association,
T.S.O.L.,
Heaven 17,
Delon & Dalcan,
Derrick May,
It's A Beautiful Day,
Rufus Thomas,
Swans,
Porter Ricks,
Alton Ellis,
Lizzy Mercier Descloux,
OOIOO,
Cabaret Voltaire,
Rhythim Is Rhythim,
Hot Snakes,
Adolescents,
Maleditus Sound,
JFA,
Flipper,
Eric Copeland,
Ohio Players,
Model 500,
Funkadelic,
Black Sheep,
Suburban Knight,
Moss Icon,
Tropical Tobacco,
Japan,
Andrew Ashong & Theo Parrish,
Roy Ayers,
The Standells,
Siouxsie and the Banshees,
Skriet,
Carl Craig,
The Searchers,
The Victims,
Tom Boy,
Fear,
Nation of Ulysses,
Dark Day,
Gian Franco Pienzio,
Lalo Schifrin,
Brass Construction,
Joe Smooth,
the Normal, the Normal, the Normal, the Normal.
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.