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 United States 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 1964 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Glasgow.
I'm losing my edge to the art-school Lyon 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 1973 at the first Television practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Au Pairs to the grime 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 Frankie Knuckles. All the underground hits.
All Japan tracks. I heard you have a vinyl of every Andrew Hill 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 spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Byrd record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Litter,
Slave,
The Fall,
Avey Tare,
MDC,
Kango’s Stein Massive,
Jesper Dahlbäck,
Skaos,
Radio Birdman,
Quadrant,
Junior Murvin,
Masters at Work,
Grauzone,
Gian Franco Pienzio,
The Detroit Cobras,
Wire,
Brick,
John Lydon,
Gregory Isaacs,
DJ Sneak,
Underground Resistance,
The Velvet Underground,
Ossler,
Yazoo,
Gerry Rafferty,
Crash Course in Science,
Richard Hell and the Voidoids,
Popol Vuh,
The Peanut Butter Conspiracy,
Lungfish,
New Age Steppers,
Chris & Cosey,
Cluster,
Echo & the Bunnymen,
Dead Boys,
Black Sheep,
Dawn Penn,
L. Decosne,
Sly & The Family Stone,
David Axelrod,
Lou Christie,
Kayak,
Vaughan Mason & Crew,
Bad Manners,
Spoonie Gee,
DJ Style,
CMW,
Chris Corsano,
Electric Prunes,
Cal Tjader,
X-Ray Spex,
Porter Ricks,
K-Klass,
Ponytail,
Pete Rock & C.L. Smooth,
The Doors,
The Slits,
Grey Daturas,
Letta Mbulu,
Thinking Fellers Union Local 282,
FM Einheit,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.