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 Guatemala and from Cairo.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Toronto.
I'm losing my edge to the art-school Taipei 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 spring reverb 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 Sad Lovers and Giants to the grime 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 Birthday Party. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Archie Shepp 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 güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sparks record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slick Rick,
Sarah Menescal,
the Slits,
Lafayette Afro Rock Band,
The Jesus and Mary Chain,
Notorious Big And Bone Thugs,
Derrick May,
The Index,
Warsaw,
Justin Hinds & The Dominoes,
Brass Construction,
Jacob Miller,
DJ Style,
Echo & the Bunnymen,
Joyce Sims,
the Normal,
Sly & The Family Stone,
Grauzone,
Heavy D & The Boyz,
The Slits,
Scrapy,
The Toasters,
Ohio Players,
Camouflage,
The Raincoats,
Erykah Badu,
The Five Americans,
John Lydon,
Scion,
Alton Ellis,
Cymande,
Main Source,
Surgeon,
Idris Muhammad,
E-Dancer,
Tomorrow,
The Evens,
D'Angelo,
Sight & Sound,
Siouxsie and the Banshees,
Mark Hollis,
Skarface,
Erasure,
The Moleskins,
Monks,
Roxette,
Larry & the Blue Notes,
Avey Tare,
Throbbing Gristle,
Camberwell Now,
Oneida,
Glenn Branca,
Yaz,
the Soft Cell,
Major Organ And The Adding Machine,
The Neon Judgement,
The Blackbyrds,
Bizarre Inc.,
L. Decosne,
Kings Of Tomorrow,
The Chocolate Watch Band,
T. Rex,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.