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 Czech Republic and from Manchester.
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 1979.
I'm losing my edge.
To all the kids in Cairo and Mexico City.
I'm losing my edge to the art-school Mexico City 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 oboe 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 The American Breed to the jazz kids.
I played it at the Troubador.
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 Symarip. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every The Offenders 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Matthew Bourne,
Second Layer,
Sly & The Family Stone,
The Grass Roots,
Qualms,
Altered Images,
The Techniques,
The Star Department,
Joy Division,
The Gladiators,
The Flesh Eaters,
Josef K,
Ronan,
Deepchord,
Alton Ellis,
Reuben Wilson,
Idris Muhammad,
Main Source,
Letta Mbulu,
Red Lorry Yellow Lorry,
Danielle Patucci,
Y Pants,
Lightning Bolt,
Louis and Bebe Barron,
The Count Five,
Chris Corsano,
The Music Machine,
The Beau Brummels,
The Modern Lovers,
Orchestral Manoeuvres in the Dark,
Vaughan Mason & Crew,
June Days,
Davy DMX,
Average White Band,
Black Moon,
Tres Demented,
Ludus,
Silicon Teens,
Wire,
Khruangbin,
Tomorrow,
Justin Hinds & The Dominoes,
La Düsseldorf,
Cybotron,
Bobbi Humphrey,
Jerry Gold Smith,
X-101,
Man Eating Sloth,
Faust,
Lebanon Hanover,
The Neon Judgement,
the Normal,
Crispy Ambulance,
Sad Lovers and Giants,
Ohio Players,
Camberwell Now,
Banda Bassotti,
Bootsy's Rubber Band,
The Slackers,
Iggy Pop,
Ponytail,
Slick Rick,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.