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 Nicaragua and from Toronto.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Manila and Portland.
I'm losing my edge to the art-school Sao Paulo 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Von Mondo to the crunk 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 Youth Brigade. All the underground hits.
All Tres Demented tracks. I heard you have a vinyl of every Gong record on German import.
I heard that you have a white label of every seminal funk 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 an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Technova record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Rites of Spring,
Max Romeo,
Amon Düül,
Black Pus,
Theoretical Girls,
Bluetip,
Grandmaster Flash,
The Walker Brothers,
Sällskapet,
London Community Gospel Choir,
FM Einheit,
Gang Green,
Pharaoh Sanders and the Fire Engines,
Minor Threat,
Bizarre Inc.,
Maleditus Sound,
Unrelated Segments,
John Coltrane,
T. Rex,
Piero Umiliani,
The Sonics,
Marmalade,
Jerry's Kids,
Buzzcocks,
Bobby Hutcherson,
Bob Dylan,
Gang of Four,
Groovy Waters,
Interpol,
Oneida,
Amon Düül II,
Visage,
Laurel Aitken,
Henry Cow,
Isaac Hayes,
Lucky Dragons,
Ken Boothe,
Minny Pops,
Don Cherry,
the Bar-Kays,
Tom Boy,
Gil Scott Heron,
Cameo,
Alison Limerick,
Sight & Sound,
Roy Ayers Ubiquity,
ABBA,
Sun Ra,
Electric Prunes,
Cybotron,
Cecil Taylor,
Lalo Schifrin,
Kenny Larkin,
Matthew Bourne,
Red Lorry Yellow Lorry,
Hoover,
Dawn Penn,
World's Most,
R.M.O.,
Liliput,
Tres Demented,
Roxy Music,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.