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 Samoa and from Tokyo.
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 1974.
I'm losing my edge.
To all the kids in Woodstock and Seoul.
I'm losing my edge to the art-school Tokyo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron 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 Blake Baxter to the electroclash kids.
I played it at CBGB's.
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 Electric Light Orchestra. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every Japan 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
Bill Wells,
The Alarm Clocks,
The Fugs,
James White and The Blacks,
The Royal Family And The Poor,
Cymande,
Marvin Gaye,
Funkadelic,
Jacques Brel,
The Angels of Light,
Joensuu 1685,
Suicide,
Art Ensemble Of Chicago,
T.S.O.L.,
Stetsasonic,
Notorious BIG live in Amsterdam,
Ronan,
Idris Muhammad,
Liliput,
Minny Pops,
Susan Cadogan,
Hashim,
Selector Dub Narcotic,
The Evens,
Erykah Badu,
The J.B.'s,
John Lydon,
The Remains,
The Fortunes,
Röyhkä ja Rättö ja Lehtisalo,
Liaisons Dangereuses,
The Jesus and Mary Chain,
T. Rex,
Moebius,
Ken Boothe,
New Age Steppers,
Erasure,
Ludus,
Spoonie Gee,
Sticky Fingaz feat. Raekwon,
Robert Görl,
The Seeds,
Bobbi Humphrey,
Laurel Aitken,
Ice-T,
The Chocolate Watch Band,
Cameo,
The Durutti Column,
Roy Ayers,
Black Flag,
World's Most,
Arab on Radar,
Lafayette Afro Rock Band,
Fear,
Monolake,
Black Pus,
Brand Nubian,
Parry Music,
Negative Approach,
Das Ding, Das Ding, Das Ding, Das Ding.
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.