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 Guinea-Bissau and from London.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and London.
I'm losing my edge to the art-school Taipei 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 clarinet sounds with much patience.
I was there when Captain Beefheart 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 Dave Clark Five to the rock kids.
I played it at the Crocodile.
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 Roxette. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every The Busters 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Ash Ra Tempel,
PIL,
Stiv Bators,
John Lydon,
Vainqueur,
Eric Copeland,
Röyhkä ja Rättö ja Lehtisalo,
The Beau Brummels,
Half Japanese,
Kool Moe Dee,
Minutemen,
La Düsseldorf,
Animal Collective,
David Bowie,
Kool G Rap & DJ Polo,
F. McDonald,
Frankie Knuckles,
Bob Dylan,
The Seeds,
Blancmange,
Eve St. Jones,
Avey Tare,
The Smiths,
Saccharine Trust,
Newcleus,
Avey Tare & Kría Brekkan,
Rakim,
The Techniques,
Barry Ungar,
Marvin Gaye,
Los Fastidios,
B.T. Express,
Thinking Fellers Union Local 282,
Marmalade,
The Dirtbombs,
The Fortunes,
Pulsallama,
Adolescents,
James White and The Blacks,
The Slackers,
Nils Olav,
the Bar-Kays,
Smog,
Isaac Hayes,
Gil Scott-Heron & Brian Jackson,
Brand Nubian,
Suburban Knight,
These Immortal Souls,
Duran Duran,
Symarip,
Lebanon Hanover,
The Moleskins,
Wally Richardson,
Cal Tjader,
Bobby Byrd,
Tomorrow,
Lonnie Liston Smith,
Rekid,
Babytalk,
Main Source, Main Source, Main Source, Main Source.
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.