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 Mongolia and from Mumbai.
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 1973.
I'm losing my edge.
To all the kids in Salvador and Columbus.
I'm losing my edge to the art-school Shanghai 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 Zapp practice in a loft in Hamilton.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Joyce Sims to the rap kids.
I played it at Cafe Wha.
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 Rhythm & Sound. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every Sparks 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
the Association,
KRS-One,
Loose Ends,
Section 25,
The Sound,
The Cosmic Jokers,
Louis and Bebe Barron,
Michelle Simonal,
New York Dolls,
The West Coast Pop Art Experimental Band,
Arthur Verocai,
Mandrill,
Outsiders,
Talk Talk,
Sister Nancy,
Todd Rundgren,
Peter and Kerry,
Minor Threat,
The Black Dice,
Captain Beefheart & His Magic Band,
Art Ensemble Of Chicago,
Kool G Rap & DJ Polo,
Severed Heads,
Lindisfarne,
Supertramp,
Moebius,
Brick,
Clear Light,
Newcleus,
Sugar Minott,
The Mummies,
Glambeats Corp.,
Maleditus Sound,
The Kinks,
Soft Machine,
Amon Düül,
Godley & Creme,
Television,
Dave Gahan,
Robert Görl,
Interpol,
Avey Tare,
The Fortunes,
Selector Dub Narcotic,
Ultravox,
Smog,
Bluetip,
Motorama,
Stereo Dub,
Bad Manners,
Model 500,
Fat Boys,
Average White Band,
Letta Mbulu,
Morten Harket,
The Techniques,
Davy DMX,
The Offenders,
Harry Pussy,
Gregory Isaacs,
Idris Muhammad,
X-Ray Spex, X-Ray Spex, X-Ray Spex, X-Ray Spex.
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.