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 Namibia and from Beijing.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Bologna.
I'm losing my edge to the art-school Lagos 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the rhodes 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 Andrew Hill to the rap kids.
I played it at the Troubador.
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 The Move. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every Depeche Mode record on German import.
I heard that you have a white label of every seminal electroclash 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 marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Intrusion,
Newcleus,
The Count Five,
Red Lorry Yellow Lorry,
Ultravox,
X-Ray Spex,
Erasure,
Porter Ricks,
Alton Ellis,
Radiopuhelimet,
Jawbox,
Eden Ahbez,
James Chance & The Contortions,
Fear,
Sparks,
Roy Ayers,
Magazine,
The Fortunes,
Gil Scott-Heron and Jamie xx,
La Düsseldorf,
Echo & the Bunnymen,
Stiv Bators,
Soulsonic Force,
The Doobie Brothers,
Ten City,
Gian Franco Pienzio,
Yusef Lateef,
Avey Tare,
E-Dancer,
Tubeway Army,
Piero Umiliani,
Barrington Levy,
Surgeon,
Inner City,
Pete Rock & C.L. Smooth,
Tommy Roe,
Country Teasers,
Excepter,
Wally Richardson,
Visage,
Nik Kershaw,
Pussy Galore,
Louis and Bebe Barron,
Minnie Riperton,
Bobby Hutcherson,
Eurythmics,
T. Rex,
Marshall Jefferson,
Lyres,
Vainqueur,
Barry Ungar,
Dual Sessions,
CMW,
Bill Wells,
Girls At Our Best!,
Goldenarms,
The Monks,
Clear Light,
Big Daddy Kane,
Index,
Aswad,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.