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 Germany and from Milan.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1972.
I'm losing my edge.
To all the kids in Delhi and Lyon.
I'm losing my edge to the art-school Woodstock 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 sitar 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 Echo & the Bunnymen to the disco 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 Mary Jane Girls. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Swell Maps 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 '80s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Bobby Byrd,
Andrew Ashong & Theo Parrish,
Subhumans,
Black Sheep,
Nick Cave & The Bad Seeds,
Aural Exciters,
Al Stewart,
Wolf Eyes,
Kurtis Blow,
Sexual Harrassment,
Bootsy's Rubber Band,
Severed Heads,
World's Most,
Zero Boys,
Altered Images,
Pharoah Sanders,
Boredoms,
Procol Harum,
The Litter,
Marcia Griffiths,
The Human League,
Marmalade,
Groovy Waters,
The Real Kids,
The American Breed,
the Normal,
Los Fastidios,
The Gories,
Q and Not U,
Quando Quango,
The Move,
The Mighty Diamonds,
Sonny Sharrock,
Camron Feat. Memphis Bleek And Beenie Seigel,
Orchestral Manoeuvres in the Dark,
Howard Jones,
Magma,
Lebanon Hanover,
Index,
Röyhkä ja Rättö ja Lehtisalo,
Bill Near,
The Sound,
Jawbox,
Isaac Hayes,
Y Pants,
Man Parrish,
Archie Shepp,
Soul Sonic Force,
Juan Atkins,
Kool G Rap & DJ Polo,
Tears for Fears,
The Smoke,
John Holt,
Cabaret Voltaire,
Man Eating Sloth,
Gary Puckett & The Union Gap,
Yusef Lateef,
Alice Coltrane,
The Modern Lovers,
Pantytec, Pantytec, Pantytec, Pantytec.
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.