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 Brazil and from Stockholm.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Halifax and Paris.
I'm losing my edge to the art-school Mumbai 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 oboe 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 Cameo to the disco 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 The Toasters. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark 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 '80s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
The Searchers,
Kango’s Stein Massive,
Brand Nubian,
Underground Resistance,
48th St. Collective,
The West Coast Pop Art Experimental Band,
The Modern Lovers,
Johnny Osbourne,
Lonnie Liston Smith,
Yellowson,
JFA,
The Alarm Clocks,
The Move,
Joe Smooth,
Janne Schatter,
Clear Light,
Guru Guru,
Michelle Simonal,
Skaos,
Mad Mike,
The Grass Roots,
Tears for Fears,
Deadbeat,
The Blackbyrds,
Bobbi Humphrey,
It's A Beautiful Day,
Avey Tare's Slasher Flicks,
The Gories,
The Pretty Things,
Minny Pops,
Monks,
Curtis Mayfield,
Mantronix,
Sister Nancy,
Grauzone,
T.S.O.L.,
John Cale,
Gregory Isaacs,
Quadrant,
Mission of Burma,
The Doors,
Graham Central Station,
Sun Ra,
Scientists,
Warren Ellis,
Fatback Band,
Brass Construction,
U.S. Maple,
Unrelated Segments,
Babytalk,
Althea and Donna,
T. Rex,
Letta Mbulu,
The Offenders,
New Order,
Deutsch Amerikanische Freundschaft,
Saccharine Trust,
Harmonia, Harmonia, Harmonia, Harmonia.
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.