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 Rwanda and from Sao Paulo.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Lille and Shanghai.
I'm losing my edge to the art-school Salvador 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Siglo XX to the jazz kids.
I played it at the Astoria.
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 the Bar-Kays. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Richard Hell and the Voidoids record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Kango’s Stein Massive,
Boz Scaggs,
Todd Rundgren,
Lakeside,
Sex Pistols,
Kool G Rap & DJ Polo,
Rosa Yemen,
Bad Manners,
Lou Reed & Metallica,
Peter and Kerry,
Andrew Hill,
Rhythim Is Rhythim,
Peter Gordon & Love of Life Orchestra,
Cal Tjader,
June Days,
Deakin,
Patti Smith,
Beasts of Bourbon,
Pete Rock & C.L. Smooth,
Stockholm Monsters,
the Normal,
The Fuzztones,
Terrestrial Tones,
Chris & Cosey,
Art Ensemble Of Chicago,
The Stooges,
Crispian St. Peters,
Faraquet,
Urselle,
Eric Copeland,
Scott Walker + Sunn O))),
Radiopuhelimet,
Jesper Dahlback,
Sonny Sharrock,
The Detroit Cobras,
Lebanon Hanover,
La Düsseldorf,
Isaac Hayes,
Roxette,
Notorious Big And Bone Thugs,
Bobby Sherman,
Y Pants,
Joe Finger,
The American Breed,
Dual Sessions,
Funkadelic,
Nas,
Kaleidoscope,
Public Image Ltd.,
Electric Prunes,
Barry Ungar,
Avey Tare & Kría Brekkan,
Boogie Down Productions,
The Move,
Soul Sonic Force,
Animal Collective,
Howard Jones,
The Dirtbombs,
Bobby Womack,
The Slits,
Grandmaster Flash,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.