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 Luxembourg and from Edmonton.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Salvador.
I'm losing my edge to the art-school Hong Kong 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 Robert Palmer 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 The Music Machine to the punk 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 Can. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Index 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Men They Couldn't Hang record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
Todd Rundgren,
The Dirtbombs,
The Kinks,
Thee Headcoats,
The Count Five,
MDC,
The Gories,
Connie Case,
Ituana,
Notorious Big And Bone Thugs,
Piero Umiliani,
Minny Pops,
Lebanon Hanover,
ABC,
Brothers Johnson,
John Holt,
Gary Puckett & The Union Gap,
a-ha,
Sam Rivers,
Jacob Miller,
Lafayette Afro Rock Band,
Dead Boys,
Reagan Youth,
Ludus,
Super Lover Cee & Casanova Rud,
The Leaves,
Pole,
Mantronix,
F. McDonald,
Rekid,
Captain Beefheart & His Magic Band,
JFA,
Warsaw,
Howard Jones,
Kayak,
Main Source,
Sugar Minott,
Zero Boys,
The Real Kids,
Public Enemy,
The Residents,
Vainqueur,
Matthew Bourne,
The Slackers,
D'Angelo,
Ronan,
Alphaville,
Masters at Work,
Fat Boys,
The Peanut Butter Conspiracy,
Fela Kuti,
Amon Düül II,
48th St. Collective,
Sad Lovers and Giants,
Al Stewart,
Faust,
Toni Rubio,
Jandek,
Bootsy's Rubber Band,
Sly & The Family Stone,
Nirvana,
The Doors, The Doors, The Doors, The Doors.
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.