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 Antigua and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Salvador.
I'm losing my edge to the art-school Tokyo 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Althea and Donna to the dance kids.
I played it at the Roxy.
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 Ohio Players. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every MC5 record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marine Girls,
Anthony Braxton,
Aaron Thompson,
Eli Mardock,
Make Up,
Amon Düül II,
Lindisfarne,
Ronnie Foster,
Jesper Dahlbäck,
Tubeway Army,
Scion,
Das Ding,
Marshall Jefferson,
ABBA,
Stiv Bators,
Underground Resistance,
The Wake,
DJ Style,
The Busters,
Minor Threat,
Donny Hathaway,
Bill Near,
Joe Finger,
Ossler,
Barbara Tucker,
Peter and Kerry,
Zapp,
The Stooges,
Lizzy Mercier Descloux,
The Gories,
Spoonie Gee,
Sun Ra,
Joyce Sims,
Essential Logic,
Pylon,
Andrew Hill,
Pete Rock & C.L. Smooth,
Sandy B,
Blossom Toes,
Art Ensemble Of Chicago,
Depeche Mode,
Hardrive,
Sexual Harrassment,
Dual Sessions,
Ken Boothe,
Little Man,
Boredoms,
K-Klass,
Red Lorry Yellow Lorry,
Lou Reed & Metallica,
The Cowsills,
Dark Day,
Warsaw,
Gian Franco Pienzio,
The Leaves,
The West Coast Pop Art Experimental Band,
Thinking Fellers Union Local 282,
Magazine,
John Foxx,
The Jesus and Mary Chain,
Electric Light Orchestra,
Ornette Coleman,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.