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 Philippines and from London.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Portland and Bologna.
I'm losing my edge to the art-school Woodstock 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 Brass Construction to the disco kids.
I played it at the 40 Watt.
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 T. Rex. All the underground hits.
All The Skatalites tracks. I heard you have a vinyl of every Cameo record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mission of Burma,
Black Flag,
Eric Copeland,
Barclay James Harvest,
Strawberry Alarm Clock,
Ultimate Spinach,
Anthony Braxton,
Heavy D & The Boyz,
New Age Steppers,
Angels of Light & Akron/Family,
Black Bananas,
Todd Rundgren,
China Crisis,
Marcia Griffiths,
Orchestral Manoeuvres in the Dark,
The Flesh Eaters,
New Order,
Ossler,
Fat Boys,
Mo-Dettes,
Bootsy Collins,
Peter Gordon & Love of Life Orchestra,
The Happenings,
Unwound,
Bizarre Inc.,
Joe Smooth,
Grauzone,
Pantaleimon,
The Walker Brothers,
Fifty Foot Hose,
Roy Ayers Ubiquity,
The Standells,
Man Eating Sloth,
Au Pairs,
New York Dolls,
The Smiths,
Hardrive,
Siglo XX,
Graham Central Station,
Newcleus,
Second Layer,
48th St. Collective,
Sixth Finger,
Albert Ayler,
Icehouse,
Niagra,
Lucky Dragons,
Ultramagnetic MC's,
Lebanon Hanover,
The Blues Magoos,
The Searchers,
The Cramps,
Jeff Mills,
Echo & the Bunnymen,
Pet Shop Boys,
the Human League,
The Human League,
Accadde A,
Electric Light Orchestra,
Ohio Players,
Jimmy McGriff,
Stereo Dub,
Interpol,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.