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 India and from Salvador.
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 1977.
I'm losing my edge.
To all the kids in Lille and Madrid.
I'm losing my edge to the art-school Bremen 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 Zapp practice in a loft in Hamilton.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Sexual Harrassment to the techno 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 ABBA. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Art Ensemble Of Chicago 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Al Stewart,
Dual Sessions,
Juan Atkins,
Echo & the Bunnymen,
T.S.O.L.,
The Residents,
Soulsonic Force,
Joe Smooth,
The Moleskins,
Barry Ungar,
Jimmy McGriff,
Bang On A Can,
Prince Buster,
Sun Ra Arkestra,
Bush Tetras,
Scratch Acid,
Sad Lovers and Giants,
Grauzone,
Metal Thangz,
Gregory Isaacs,
Guru Guru,
Oneida,
Scan 7,
Yazoo,
Harpers Bizarre,
The Dead C,
The Mummies,
Yusef Lateef,
World's Most,
Cybotron,
DJ Style,
The Smoke,
Radiopuhelimet,
The Victims,
Thee Headcoats,
Dorothy Ashby,
Orchestral Manoeuvres in the Dark,
Tropical Tobacco,
U.S. Maple,
Boz Scaggs,
The Pop Group,
Hardrive,
The Fuzztones,
Marcia Griffiths,
Rod Modell,
Negative Approach,
Sarah Menescal,
Super Lover Cee & Casanova Rud,
Stetsasonic,
F. McDonald,
Terry Callier,
Tomorrow,
Dave Gahan,
Blancmange,
Arab on Radar,
Magazine,
Glenn Branca,
Con Funk Shun,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.