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 the UAE and from Spokane.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Winnipeg and Lyon.
I'm losing my edge to the art-school Paris 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Gil Scott-Heron and Jamie xx to the dance kids.
I played it at Cafe Wha.
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 Malaria!. All the underground hits.
All T.S.O.L. tracks. I heard you have a vinyl of every Jeru the Damaja record on German import.
I heard that you have a white label of every seminal grunge 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 guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Bluetip,
Michelle Simonal,
Dorothy Ashby,
Gil Scott Heron,
Agent Orange,
Sandy B,
The Searchers,
Liliput,
Camberwell Now,
OOIOO,
Spandau Ballet,
A Flock of Seagulls,
James Chance & The Contortions,
Bang On A Can,
Fatback Band,
The Index,
Bad Manners,
The Sisters of Mercy,
Index,
Mary Jane Girls,
Hoover,
Fugazi,
Main Source,
The Shadows of Knight,
China Crisis,
Bobby Womack,
Faust,
John Holt,
Marcia Griffiths,
Fort Wilson Riot,
Rahsaan Roland Kirk,
Soul Sonic Force,
The Black Dice,
Crash Course in Science,
Throbbing Gristle,
Cameo,
Half Japanese,
June of 44,
Kango’s Stein Massive,
Fad Gadget,
Panda Bear,
Dead Boys,
Suburban Knight,
Glambeats Corp.,
Lindisfarne,
Bobby Byrd,
The Seeds,
Bobby Hutcherson,
Jacques Brel,
Tres Demented,
Smog,
T.S.O.L.,
The Sound,
The Smiths,
Be Bop Deluxe,
a-ha,
Pharoah Sanders,
Masters at Work,
Major Organ And The Adding Machine,
Bill Near,
Louis and Bebe Barron,
Loose Ends,
The Kinks, The Kinks, The Kinks, The Kinks.
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.