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 Sweden and from Lagos.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Accra and Bologna.
I'm losing my edge to the art-school Madrid 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 theremin 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 Jesper Dahlback to the dance kids.
I played it at the Hacienda.
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 Blake Baxter. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every The Fuzztones 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 '90s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Severed Heads,
John Foxx,
Lucky Dragons,
Slick Rick,
Neu!,
Ultravox,
Gian Franco Pienzio,
The Techniques,
Animal Collective,
Icehouse,
The American Breed,
Sister Nancy,
Orchestral Manoeuvres in the Dark,
Chris Corsano,
Thinking Fellers Union Local 282,
Toni Rubio,
Rapeman,
The Fugs,
Chrome,
K-Klass,
John Cale,
Curtis Mayfield,
Suicide,
Glenn Branca,
Fugazi,
Livin' Joy,
Freddie Wadling,
Röyhkä ja Rättö ja Lehtisalo,
Isaac Hayes,
Spandau Ballet,
Flash Fearless,
Cal Tjader,
Tropical Tobacco,
Gil Scott-Heron and Jamie xx,
Camron Feat. Memphis Bleek And Beenie Seigel,
Captain Beefheart & His Magic Band,
Gang Green,
Junior Murvin,
Eric B and Rakim,
John Holt,
Patti Smith,
Inner City,
Sun Ra Arkestra,
Black Sheep,
Oneida,
Duran Duran,
Babytalk,
Todd Terry,
Robert Wyatt,
Angels of Light & Akron/Family,
ABC,
Funky Four + One,
Section 25,
Joyce Sims,
Nirvana,
Goldenarms,
Blake Baxter,
Eric Copeland,
Cymande,
Lou Reed & John Cale,
Intrusion,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.