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 Bulgaria and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1976.
I'm losing my edge.
To all the kids in Halifax and London.
I'm losing my edge to the art-school Edmonton 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 arpeggiator 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 Roy Ayers Ubiquity to the rap kids.
I played it at the Spitz.
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 Make Up. All the underground hits.
All Spoonie Gee tracks. I heard you have a vinyl of every Dual Sessions record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
the Association,
Adolescents,
Hoover,
The Walker Brothers,
Glambeats Corp.,
Gabor Szabo,
Eyeless In Gaza,
Patti Smith,
Neu!,
Cybotron,
The Blackbyrds,
Mark Hollis,
Depeche Mode,
Darondo,
Lalo Schifrin,
Siouxsie and the Banshees,
Ituana,
Carl Craig,
Popol Vuh,
Khruangbin,
Lalann,
Cecil Taylor,
Guru Guru,
Black Bananas,
New York Dolls,
Shoche,
The Fugs,
The Chocolate Watch Band,
Tommy Roe,
The Smiths,
Los Fastidios,
10cc,
Heaven 17,
Heavy D & The Boyz,
8 Eyed Spy,
The Star Department,
Lakeside,
Pantaleimon,
Ultimate Spinach,
Simply Red,
Bizarre Inc.,
Bronski Beat,
Grey Daturas,
Sugar Minott,
Rhythim Is Rhythim,
The Doobie Brothers,
Hashim,
Lebanon Hanover,
Vladislav Delay,
kango's stein massive,
Idris Muhammad,
Todd Terry,
Crispian St. Peters,
Kayak,
Kool G Rap & DJ Polo,
Newcleus,
Dual Sessions,
Mission of Burma,
Swell Maps,
Camberwell Now,
Sonic Youth,
Flipper, Flipper, Flipper, Flipper.
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.