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 Croatia and from Cairo.
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 Lyon and Philadelphia.
I'm losing my edge to the art-school New York 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 chamberlin 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 Jeff Mills to the funk kids.
I played it at Trash.
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 Minny Pops. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Michelle Simonal 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
The Buckinghams,
cv313,
Lonnie Liston Smith,
8 Eyed Spy,
Lungfish,
Suburban Knight,
Liliput,
The Cowsills,
Fifty Foot Hose,
The Young Rascals,
Neu!,
Godley & Creme,
Lou Reed & John Cale,
Public Enemy,
The Doors,
Section 25,
Hardrive,
Livin' Joy,
Stockholm Monsters,
Severed Heads,
The J.B.'s,
Outsiders,
Neil Young & Crazy Horse,
The Moody Blues,
T.S.O.L.,
Unrelated Segments,
Donny Hathaway,
X-101,
Nils Olav,
Be Bop Deluxe,
The Beau Brummels,
Althea and Donna,
One Last Wish,
James Chance & The Contortions,
Cabaret Voltaire,
Agent Orange,
Derrick May,
Japan,
The Mojo Men,
Harpers Bizarre,
Gichy Dan,
Cal Tjader,
June of 44,
Mandrill,
Second Layer,
Flash Fearless,
Half Japanese,
Gary Puckett & The Union Gap,
Quando Quango,
Tropical Tobacco,
JFA,
In Retrospect,
The Blackbyrds,
Franke,
Little Man,
Angry Samoans,
John Holt,
The Misunderstood,
Pharaoh Sanders and the Fire Engines,
Eric B and Rakim,
Country Joe & The Fish,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.