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 Papua New Guinea and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Calgary and Seoul.
I'm losing my edge to the art-school Bremen 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Model 500 to the funk kids.
I played it at the Roxy.
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 Jacob Miller. All the underground hits.
All One Last Wish tracks. I heard you have a vinyl of every JFA 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 '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Brand Nubian record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Blake Baxter,
The Cowsills,
Mission of Burma,
Piero Umiliani,
The Modern Lovers,
Royal Trux,
The Slackers,
a-ha,
Section 25,
Lou Christie,
Janne Schatter,
Bobby Sherman,
Camron Feat. Memphis Bleek And Beenie Seigel,
B.T. Express,
The Count Five,
Slick Rick,
Kerri Chandler,
John Coltrane,
Fort Wilson Riot,
Swans,
Byron Stingily,
Alison Limerick,
Jimmy McGriff,
Kool G Rap & DJ Polo,
the Association,
Colin Newman,
Letta Mbulu,
Agitation Free,
Bang on a Can All-Stars,
Hardrive,
June Days,
Camouflage,
Matthew Bourne,
Matthew Halsall,
Soul II Soul,
Fat Boys,
Harry Pussy,
The Young Rascals,
The Pretty Things,
Marmalade,
Tropical Tobacco,
Orchestral Manoeuvres in the Dark,
James Chance & The Contortions,
Cheater Slicks,
The Divine Comedy,
Oblivians,
Country Teasers,
Notorious Big And Bone Thugs,
T.S.O.L.,
E-Dancer,
The Jesus and Mary Chain,
Gary Puckett & The Union Gap,
Lizzy Mercier Descloux,
The Walker Brothers,
Lungfish,
Rakim,
Nick Cave & The Bad Seeds,
Nils Olav,
K-Klass,
Stiv Bators,
Warren Ellis,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.