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 Peru and from Portland.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1977.
I'm losing my edge.
To all the kids in Manchester and Paris.
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 organ sounds with much patience.
I was there when Lou Reed 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 Gang Gang Dance to the punk 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 Vladislav Delay. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Steve Hackett record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Inner City,
Peter and Kerry,
Jeff Lynne,
Fatback Band,
Public Enemy,
Boz Scaggs,
The Techniques,
Janne Schatter,
Amon Düül II,
Minutemen,
Nas,
cv313,
The West Coast Pop Art Experimental Band,
Sunsets and Hearts,
The Doobie Brothers,
Jawbox,
Oneida,
Terror Squad Feat. Camron,
Oppenheimer Analysis,
Rod Modell,
DJ Sneak,
The Zeros,
Richard Hell and the Voidoids,
The Human League,
Lucky Dragons,
Rapeman,
Sister Nancy,
Organ,
Tom Boy,
Boogie Down Productions,
Crispy Ambulance,
Adolescents,
48th St. Collective,
Thinking Fellers Union Local 282,
Scientists,
Henry Cow,
Matthew Bourne,
Juan Atkins,
Todd Terry,
Supertramp,
Monolake,
Jimmy McGriff,
Black Flag,
Urselle,
Ludus,
Camberwell Now,
Rotary Connection,
Pantytec,
The Men They Couldn't Hang,
Bobby Sherman,
A Certain Ratio,
Shoche,
Black Bananas,
James White and The Blacks,
Lungfish,
Liaisons Dangereuses,
The Detroit Cobras,
Jerry's Kids,
Wolf Eyes,
Terry Callier, Terry Callier, Terry Callier, Terry Callier.
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.