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 Madagascar and from Lille.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Toronto and Copenhagen.
I'm losing my edge to the art-school Accra 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 Holger Czukay 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 Max Romeo to the punk kids.
I played it at the Crocodile.
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 Buzzcocks. All the underground hits.
All Erasure tracks. I heard you have a vinyl of every Funkadelic 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 '80s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Eric B and Rakim record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Anakelly,
Sexual Harrassment,
Rekid,
T. Rex,
Lafayette Afro Rock Band,
Thinking Fellers Union Local 282,
UT,
Nas,
Amon Düül,
Black Flag,
Scratch Acid,
The Index,
Judy Mowatt,
Kevin Saunderson,
Supertramp,
China Crisis,
Visage,
Rod Modell,
Johnny Clarke,
Boz Scaggs,
Joensuu 1685,
Average White Band,
Sugar Minott,
Harry Pussy,
Sun Ra Arkestra,
The Motions,
Louis and Bebe Barron,
Subhumans,
Con Funk Shun,
Saccharine Trust,
The Walker Brothers,
Parry Music,
Ossler,
The Associates,
Eddi Front,
Scrapy,
Major Organ And The Adding Machine,
Popol Vuh,
Aloha Tigers,
D'Angelo,
Cluster,
the Association,
The Angels of Light,
Pete Rock & C.L. Smooth,
Man Parrish,
Zero Boys,
Ronan,
Siglo XX,
X-Ray Spex,
Television,
The Mighty Diamonds,
Lou Christie,
Lou Reed,
Anthony Braxton,
Lyres,
Cal Tjader,
Henry Cow,
Radiopuhelimet,
Godley & Creme,
Fifty Foot Hose,
Bill Near,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.