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 Saudi Arabia and from Philadelphia.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Cairo and Lille.
I'm losing my edge to the art-school Seoul 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 Marshall Jefferson to the rock kids.
I played it at the Astoria.
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 Rhythm & Sound. All the underground hits.
All Oblivians tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Wings record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
The Barracudas,
Curtis Mayfield,
The Leaves,
Avey Tare's Slasher Flicks,
Au Pairs,
Underground Resistance,
Notorious Big And Bone Thugs,
Funkadelic,
Black Sheep,
The Names,
Todd Rundgren,
The Mummies,
The Fire Engines,
Wally Richardson,
E-Dancer,
Scratch Acid,
R.M.O.,
Spoonie Gee,
Rod Modell,
10cc,
Franke,
Gang Gang Dance,
Loose Ends,
Masters at Work,
Television Personalities,
Louis and Bebe Barron,
Orchestral Manoeuvres in the Dark,
Bob Dylan,
Nico,
Donny Hathaway,
MC5,
the Swans,
Isaac Hayes,
Scott Walker,
Motorama,
The Cowsills,
Porter Ricks,
Aloha Tigers,
Kaleidoscope,
Tim Buckley,
The Gap Band,
Marmalade,
Mantronix,
Radiopuhelimet,
The Human League,
Rakim,
Arcadia,
Henry Cow,
Alton Ellis,
Pylon,
Jandek,
Saccharine Trust,
The Victims,
Lower 48,
KRS-One,
The Beau Brummels,
Archie Shepp,
Man Eating Sloth,
Agent Orange,
David McCallum,
Mission of Burma,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.