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 Dominican Republic and from Mumbai.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Bremen and Toronto.
I'm losing my edge to the art-school Calgary 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro 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 Mark Hollis to the funk kids.
I played it at Trash.
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 Graham Central Station. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
Yaz,
Matthew Bourne,
Prince Buster,
Cameo,
Ludus,
Porter Ricks,
The Flesh Eaters,
Yellowson,
Gang of Four,
Banda Bassotti,
X-101,
Sex Pistols,
Minny Pops,
Pylon,
Goldenarms,
Amon Düül II,
Ice-T,
Kaleidoscope,
Cabaret Voltaire,
Sandy B,
Lakeside,
the Normal,
The Birthday Party,
Sexual Harrassment,
Masters at Work,
Blancmange,
Heavy D & The Boyz,
Quando Quango,
Warren Ellis,
Underground Resistance,
Alton Ellis,
the Association,
The J.B.'s,
Unwound,
Rhythim Is Rhythim,
Juan Atkins,
Jacques Brel,
AZ,
Crooked Eye,
Ornette Coleman,
The Buckinghams,
Rosa Yemen,
Dennis Brown,
The Sonics,
Harmonia,
Fela Kuti,
Wighnomy Brothers & Robag Wruhme,
Metal Thangz,
The Mighty Diamonds,
Radiohead,
The Beau Brummels,
Gil Scott Heron,
Ten City,
Ultravox,
Gang Gang Dance,
Moss Icon,
Hashim,
Robert Wyatt,
Joe Smooth,
Make Up,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.