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 Ethiopia and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Milan and Portland.
I'm losing my edge to the art-school Glasgow 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Hardrive to the dance 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 Niagra. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Man Parrish,
Barrington Levy,
Super Lover Cee & Casanova Rud,
Sexual Harrassment,
Pantytec,
Graham Central Station,
Tommy Roe,
This Heat,
Yazoo,
The Red Krayola,
Sight & Sound,
Royal Trux,
Gil Scott-Heron and Jamie xx,
Quando Quango,
Mary Jane Girls,
The Slits,
DJ Style,
Oneida,
The Gladiators,
Throbbing Gristle,
Nils Olav,
the Swans,
De La Soul & Jungle Brothers,
Talk Talk,
Sly & The Family Stone,
Gil Scott-Heron & Brian Jackson,
Warren Ellis,
Todd Terry,
Sound Behaviour,
Vaughan Mason & Crew,
Notorious Big And Bone Thugs,
Yusef Lateef,
Icehouse,
Beasts of Bourbon,
David Axelrod,
Magma,
The Young Rascals,
Tomorrow,
Hasil Adkins,
Idris Muhammad,
Slave,
Juan Atkins,
Kauko Röyhkä ja Narttu,
Massinfluence,
Public Enemy,
Warsaw,
Con Funk Shun,
The Monochrome Set,
The Offenders,
Steve Hackett,
Avey Tare's Slasher Flicks,
Can,
Skriet,
Rhythim Is Rhythim,
Fort Wilson Riot,
Young Marble Giants,
DeepChord presents Echospace,
U.S. Maple,
Organ,
DNA,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.