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 Turkmenistan and from Bremen.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Portland and Tokyo.
I'm losing my edge to the art-school Mexico City 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 guitar 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 New York Dolls to the funk kids.
I played it at Trash.
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 Chris & Cosey. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Ken Boothe,
Dark Day,
Andrew Hill,
Bill Near,
Country Joe & The Fish,
MC5,
the Slits,
Scrapy,
Ludus,
Brass Construction,
UT,
X-102,
Country Teasers,
Rhythm & Sound,
Avey Tare & Kría Brekkan,
Rod Modell,
Sam Rivers,
The Monks,
Section 25,
Slave,
K-Klass,
Reuben Wilson,
Fatback Band,
Mary Jane Girls,
It's A Beautiful Day,
Arthur Verocai,
Nation of Ulysses,
Stiv Bators,
Groovy Waters,
The Music Machine,
Chris Corsano,
De La Soul & Jungle Brothers,
The Wake,
Kurtis Blow,
The J.B.'s,
Camberwell Now,
Johnny Clarke,
These Immortal Souls,
Pantaleimon,
Eric Dolphy,
10cc,
Franke,
Theoretical Girls,
The Fortunes,
Unrelated Segments,
Al Stewart,
The Raincoats,
Wolf Eyes,
Kango’s Stein Massive,
Richard Hell and the Voidoids,
Wasted Youth,
Cymande,
The Gun Club,
Curtis Mayfield,
Flipper,
the Association,
Shuggie Otis,
Gil Scott-Heron & Brian Jackson,
The Vogues,
Peter and Kerry,
Kenny Larkin,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.