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 Marshall Islands and from London.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1962 to 1977.
I'm losing my edge.
To all the kids in New York and Shanghai.
I'm losing my edge to the art-school Philadelphia 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 marimba 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 Suburban Knight to the rap kids.
I played it at the Roxy.
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 Ultra Naté. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Visage record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
John Cale,
Bang On A Can,
Tim Buckley,
Erasure,
Connie Case,
PIL,
Ohio Players,
Gil Scott-Heron & Brian Jackson,
Dawn Penn,
The Mummies,
Panda Bear,
Strawberry Alarm Clock,
Trumans Water,
Amon Düül II,
Mantronix,
Art Ensemble Of Chicago,
Jeff Lynne,
New York Dolls,
Barry Ungar,
The Fuzztones,
Suicide,
The Tremeloes,
Eric B and Rakim,
James Chance & The Contortions,
a-ha,
Kerri Chandler,
John Holt,
Soft Machine,
Notorious Big And Bone Thugs,
Liliput,
Yaz,
Boredoms,
Gil Scott-Heron and Jamie xx,
The Fortunes,
Sarah Menescal,
Mark Hollis,
ABBA,
Fluxion,
Can,
LL Cool J,
The Dirtbombs,
Jacques Brel,
Porter Ricks,
Beasts of Bourbon,
Audionom,
Soul Sonic Force,
Manfred Mann's Earth Band,
James White and The Blacks,
Orchestral Manoeuvres in the Dark,
Minny Pops,
KRS-One,
Alison Limerick,
Peter & Gordon,
Country Joe & The Fish,
Lou Reed & Metallica,
Infiniti,
Lalo Schifrin,
Byron Stingily,
Minutemen,
U.S. Maple,
Arab on Radar,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.