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 Cape Verde and from Paris.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Bologna and Bremen.
I'm losing my edge to the art-school Philadelphia 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 synthesizer 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 Khruangbin to the rock 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 DNA. All the underground hits.
All T.S.O.L. tracks. I heard you have a vinyl of every Joensuu 1685 record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Saccharine Trust,
Ohio Players,
Magazine,
Eyeless In Gaza,
Bobby Womack,
Los Fastidios,
Peter and Kerry,
The Walker Brothers,
Juan Atkins,
Major Organ And The Adding Machine,
Electric Prunes,
The Flesh Eaters,
DJ Style,
Sixth Finger,
DeepChord presents Echospace,
Kurtis Blow,
Rhythm & Sound,
Q and Not U,
Inner City,
Bobby Sherman,
John Lydon,
Jandek,
Fifty Foot Hose,
Bootsy Collins,
Steve Hackett,
Johnny Osbourne,
Minor Threat,
Procol Harum,
A Flock of Seagulls,
David McCallum,
Big Daddy Kane,
Circle Jerks,
Aswad,
Eric B and Rakim,
The Divine Comedy,
Pierre Henry,
Das Ding,
the Human League,
Gil Scott-Heron and Jamie xx,
The Gladiators,
Yellowson,
Buzzcocks,
Y Pants,
Marc Almond,
The Count Five,
John Cale,
Main Source,
Gang Green,
Sexual Harrassment,
Jeff Mills,
Agitation Free,
Bobbi Humphrey,
Lindisfarne,
Hasil Adkins,
Interpol,
New York Dolls,
Half Japanese,
Brass Construction,
The Standells,
Television,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.