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 Micronesia and from Jakarta.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Bologna and Mexico City.
I'm losing my edge to the art-school Bremen 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 The Zeros to the rap kids.
I played it at CBGB's.
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 Barclay James Harvest. All the underground hits.
All Basic Channel tracks. I heard you have a vinyl of every Bill Wells 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Gil Scott Heron,
Deadbeat,
The Remains,
Blancmange,
Section 25,
Slick Rick,
The Fuzztones,
Schoolly D,
Quando Quango,
Cameo,
The Fortunes,
Soft Cell,
Stetsasonic,
Porter Ricks,
Justin Hinds & The Dominoes,
Manfred Mann's Earth Band,
Danielle Patucci,
Wasted Youth,
Crooked Eye,
Ken Boothe,
Simply Red,
Pierre Henry,
Motorama,
Gian Franco Pienzio,
The Mighty Diamonds,
The Men They Couldn't Hang,
Blake Baxter,
The West Coast Pop Art Experimental Band,
Public Enemy,
Idris Muhammad,
Magazine,
The Pop Group,
The Names,
Marvin Gaye,
T. Rex,
The Velvet Underground,
Max Romeo,
Nico,
Flash Fearless,
Crime,
Altered Images,
Quadrant,
The Happenings,
Delon & Dalcan,
Gil Scott-Heron and Jamie xx,
a-ha,
Donald Byrd,
Nation of Ulysses,
Archie Shepp,
JFA,
Jesper Dahlback,
Drexciya,
James White and The Blacks,
Yazoo,
Moby Grape,
The Skatalites,
Sam Rivers,
Siglo XX,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.