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 Ukraine and from Seoul.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Spokane.
I'm losing my edge to the art-school Sao Paulo 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Jeff Mills to the grunge 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 Fort Wilson Riot. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra Arkestra,
Liaisons Dangereuses,
Charles Mingus,
B.T. Express,
Schoolly D,
Pantytec,
Accadde A,
Von Mondo,
David McCallum,
The Evens,
Robert Wyatt,
Sister Nancy,
Section 25,
The Moody Blues,
Lonnie Liston Smith,
Dual Sessions,
Country Teasers,
Rites of Spring,
X-101,
Mo-Dettes,
Bootsy Collins,
Fad Gadget,
The Gap Band,
Interpol,
Jesper Dahlback,
Grauzone,
CMW,
Nico,
Loose Ends,
the Soft Cell,
Monolake,
Rufus Thomas,
Maleditus Sound,
The Doobie Brothers,
Manfred Mann's Earth Band,
Television,
Marcia Griffiths,
The Searchers,
Bobby Byrd,
Quando Quango,
The Gories,
Simply Red,
Goldenarms,
Franke,
Tom Boy,
Crispy Ambulance,
Althea and Donna,
Nirvana,
Spoonie Gee,
F. McDonald,
Suburban Knight,
Visage,
The Skatalites,
Jeff Lynne,
Deepchord,
The Sonics,
Cabaret Voltaire,
Unwound,
Can,
ABC,
Cybotron,
Harpers Bizarre,
The Standells, The Standells, The Standells, The Standells.
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.