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 Namibia and from Portland.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Bologna and Bremen.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator 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 Fear to the grime 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 Young Marble Giants. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Man Eating Sloth,
Lou Reed & John Cale,
Von Mondo,
Grandmaster Flash,
Warsaw,
Barrington Levy,
Aural Exciters,
The Electric Prunes,
The Beau Brummels,
The Mighty Diamonds,
The Invisible,
New York Dolls,
Vaughan Mason & Crew,
James Chance & The Contortions,
The Smiths,
The Dave Clark Five,
Bauhaus,
Grandmaster Flash and the Furious Five,
T.S.O.L.,
Siglo XX,
Rapeman,
Camberwell Now,
The West Coast Pop Art Experimental Band,
Faust,
James White and The Blacks,
Crispian St. Peters,
Andrew Ashong & Theo Parrish,
Avey Tare & Kría Brekkan,
Sister Nancy,
Gichy Dan,
Bang on a Can All-Stars,
Section 25,
cv313,
Swell Maps,
Rotary Connection,
Kenny Larkin,
The Gun Club,
Rhythm & Sound,
Marmalade,
Malaria!,
The New Christs,
Tom Boy,
The Fugs,
Todd Rundgren,
Lucky Dragons,
Alice Coltrane,
Howard Jones,
The American Breed,
Gang Starr,
The Moleskins,
The Royal Family And The Poor,
Surgeon,
Rahsaan Roland Kirk,
The Star Department,
Organ,
Franke,
Flamin' Groovies,
Kool G Rap & DJ Polo,
Ash Ra Tempel,
Cameo,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.