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 Lyon.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Mexico City.
I'm losing my edge to the art-school Cairo 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 Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Sly & The Family Stone to the rap kids.
I played it at the 40 Watt.
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 Remains. All the underground hits.
All Circle Jerks tracks. I heard you have a vinyl of every Prince Buster 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
The Birthday Party,
Prince Buster,
The Men They Couldn't Hang,
The Selecter,
Neu!,
Pete Rock & C.L. Smooth,
Sam Rivers,
Qualms,
Magazine,
Section 25,
Barrington Levy,
Shoche,
Selector Dub Narcotic,
The Trojans,
Mo-Dettes,
Ash Ra Tempel,
The Shadows of Knight,
Louis and Bebe Barron,
Alison Limerick,
Hot Snakes,
Procol Harum,
T.S.O.L.,
DJ Sneak,
Lower 48,
the Sonics,
Jesper Dahlback,
Brothers Johnson,
T. Rex,
Crime,
Boz Scaggs,
Tropical Tobacco,
Idris Muhammad,
Tres Demented,
Jacques Brel,
Wire,
Chrome,
Talk Talk,
The Offenders,
Be Bop Deluxe,
Ultramagnetic MC's,
Joey Negro,
New Age Steppers,
Letta Mbulu,
Neil Young & Crazy Horse,
EPMD,
KRS-One,
De La Soul & Jungle Brothers,
Buzzcocks,
Angels of Light & Akron/Family,
Derrick Morgan,
Minor Threat,
Strawberry Alarm Clock,
Trumans Water,
Lonnie Liston Smith,
Mandrill,
PIL,
Jerry Gold Smith,
Delta 5,
Skriet,
Infiniti,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.