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 Korea North and from Delhi.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Manila.
I'm losing my edge to the art-school Philadelphia 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen 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 The Mighty Diamonds to the rock kids.
I played it at the Spitz.
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 Scrapy. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Traffic Nightmare 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Black Bananas record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
The West Coast Pop Art Experimental Band,
Prince Buster,
The Sound,
Larry & the Blue Notes,
Saccharine Trust,
Grauzone,
Lizzy Mercier Descloux,
Judy Mowatt,
The Real Kids,
Bad Manners,
Drexciya,
Clear Light,
Simply Red,
The Offenders,
Ash Ra Tempel,
James Chance & The Contortions,
Fad Gadget,
A Flock of Seagulls,
Sonny Sharrock,
Gastr Del Sol,
Motorama,
Surgeon,
T. Rex,
Metal Thangz,
Gil Scott-Heron and Jamie xx,
Lalo Schifrin,
Radiohead,
Cymande,
Davy DMX,
Swans,
Mary Jane Girls,
Jacques Brel,
Reagan Youth,
Pylon,
Curtis Mayfield,
Boz Scaggs,
One Last Wish,
Chris & Cosey,
Supertramp,
Eyeless In Gaza,
LL Cool J,
Negative Approach,
Quantec,
Ossler,
Gang of Four,
Talk Talk,
Amon Düül,
Lou Reed,
E-Dancer,
X-Ray Spex,
Derrick Morgan,
JFA,
Lafayette Afro Rock Band,
Joensuu 1685,
Hasil Adkins,
Stereo Dub,
Unwound,
Gregory Isaacs,
The Cure,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.