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 Copenhagen.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1970.
I'm losing my edge.
To all the kids in London and Stockholm.
I'm losing my edge to the art-school Tehran 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 harpsichord 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 Anthony Braxton to the crunk kids.
I played it at Trash.
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 Alison Limerick. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
The Mummies,
Eric B and Rakim,
E-Dancer,
Terry Callier,
Kaleidoscope,
Sight & Sound,
The Offenders,
Cal Tjader,
KRS-One,
Aural Exciters,
X-102,
Sly & The Family Stone,
the Swans,
Justin Hinds & The Dominoes,
Bill Wells,
Gerry Rafferty,
John Coltrane,
Lyres,
Al Stewart,
Danielle Patucci,
Sun Ra,
Kings Of Tomorrow,
Davy DMX,
Tommy Roe,
Heavy D & The Boyz,
Arab on Radar,
Angels of Light & Akron/Family,
The Invisible,
The Alarm Clocks,
Stiv Bators,
Joyce Sims,
Red Lorry Yellow Lorry,
Wasted Youth,
Robert Görl,
Lee Hazlewood,
Underground Resistance,
The Dave Clark Five,
Avey Tare & Kría Brekkan,
The Cramps,
Nirvana,
Toni Rubio,
The Gladiators,
Tim Buckley,
Cheater Slicks,
Bobby Byrd,
Lou Reed & Metallica,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Henry Cow,
Traffic Nightmare,
Mark Hollis,
Jimmy McGriff,
T. Rex,
Dawn Penn,
The Count Five,
Glenn Branca,
Arthur Verocai,
Bill Near,
The Seeds,
The Raincoats,
Shuggie Otis,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.