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 Tanzania and from Bremen.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Copenhagen.
I'm losing my edge to the art-school Stockholm 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Underground Resistance to the grime 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 Roger Hodgson. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every U.S. Maple record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
Mad Mike,
Oppenheimer Analysis,
Dark Day,
Goldenarms,
Hasil Adkins,
Tommy Roe,
Sad Lovers and Giants,
The Litter,
U.S. Maple,
Rapeman,
DJ Sneak,
The Red Krayola,
Ituana,
Guru Guru,
Matthew Halsall,
The Toasters,
Infiniti,
Laurel Aitken,
Peter & Gordon,
JFA,
Hoover,
Beasts of Bourbon,
The Doors,
Whodini,
Chris & Cosey,
Black Sheep,
Marcia Griffiths,
Isaac Hayes,
The Skatalites,
The Move,
Eurythmics,
Lyres,
Black Moon,
Deadbeat,
Gabor Szabo,
Porter Ricks,
Crispian St. Peters,
Loose Ends,
Altered Images,
The Motions,
Parry Music,
EPMD,
The Slackers,
Ultravox,
Crispy Ambulance,
MDC,
Connie Case,
Sparks,
Ice-T,
Visage,
Cameo,
Marvin Gaye,
Talk Talk,
The Blues Magoos,
The Selecter,
Donny Hathaway,
Motorama,
The Monochrome Set,
Unrelated Segments,
The Names,
48th St. Collective,
The Happenings,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.