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 Montenegro and from Bologna.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Beijing and Sao Paulo.
I'm losing my edge to the art-school Glasgow 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the rhodes 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 Fear to the punk 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 Johnny Osbourne. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Steve Hackett,
Niagra,
Mr. Review,
Lonnie Liston Smith,
Bootsy's Rubber Band,
Sun City Girls,
Jacques Brel,
Oneida,
Black Pus,
Andrew Ashong & Theo Parrish,
Soft Cell,
Erykah Badu,
The Velvet Underground,
Peter and Kerry,
Darondo,
The Wake,
Scott Walker,
Big Daddy Kane,
Radio Birdman,
Jeru the Damaja,
The Sisters of Mercy,
Minnie Riperton,
Sun Ra Arkestra,
Derrick May,
Ice-T,
The Tremeloes,
Fatback Band,
The Barracudas,
Sight & Sound,
The Doobie Brothers,
Notorious BIG live in Amsterdam,
Gil Scott Heron,
Desert Stars,
Barbara Tucker,
8 Eyed Spy,
The Mighty Diamonds,
Hoover,
Grauzone,
Joy Division,
London Community Gospel Choir,
The Mojo Men,
The Index,
Ultramagnetic MC's,
Magazine,
T. Rex,
June of 44,
Gang Green,
Fear,
Joensuu 1685,
Alice Coltrane,
JFA,
Girls At Our Best!,
Camron Feat. Memphis Bleek And Beenie Seigel,
World's Most,
Eli Mardock,
Jandek,
Kas Product,
The Dave Clark Five,
Moebius,
Stetsasonic,
Rapeman,
Matthew Bourne,
Jeff Lynne, Jeff Lynne, Jeff Lynne, Jeff Lynne.
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.