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 Kosovo and from Accra.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Mexico City.
I'm losing my edge to the art-school Seoul 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the guitar 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 Organ to the rock 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 Joensuu 1685. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
Rekid,
Pierre Henry,
Glambeats Corp.,
Pulsallama,
Kings Of Tomorrow,
Bill Near,
Steve Hackett,
Public Enemy,
The Alarm Clocks,
Manfred Mann's Earth Band,
Japan,
Siouxsie and the Banshees,
Pharaoh Sanders and the Fire Engines,
Mad Mike,
Angry Samoans,
Radiopuhelimet,
cv313,
The Modern Lovers,
The Doors,
Man Eating Sloth,
Tropical Tobacco,
Alice Coltrane,
Swans,
Charles Mingus,
Bang on a Can All-Stars,
the Human League,
Henry Cow,
The Slackers,
Sun City Girls,
Faust,
R.M.O.,
the Slits,
The Seeds,
Joensuu 1685,
Janne Schatter,
Wally Richardson,
Delon & Dalcan,
A Flock of Seagulls,
Isaac Hayes,
Brick,
Minor Threat,
Malaria!,
Major Organ And The Adding Machine,
Graham Central Station,
Nirvana,
Fatback Band,
Letta Mbulu,
Terry Callier,
Quando Quango,
The Knickerbockers,
Bobby Byrd,
Eyeless In Gaza,
The Searchers,
Eric B and Rakim,
Tomorrow,
Massinfluence,
Suicide,
PIL,
Barry Ungar,
Bobby Womack,
The Techniques,
Joe Finger,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.