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 Zimbabwe and from Mumbai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Seoul and New York.
I'm losing my edge to the art-school Spokane 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 organ sounds with much patience.
I was there when Michael McDonald 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 L. Decosne to the electroclash 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 Model 500. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Bob Dylan record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One 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?
Todd Rundgren,
Unwound,
The Sound,
Black Sheep,
X-102,
The Cramps,
Shuggie Otis,
Brick,
Echo & the Bunnymen,
Roxette,
Goldenarms,
Shoche,
Rapeman,
Monks,
David Bowie,
The Fall,
Basic Channel,
Hoover,
Lindisfarne,
The Stooges,
Lou Reed & John Cale,
Rosa Yemen,
Strawberry Alarm Clock,
Radio Birdman,
Morten Harket,
The Neon Judgement,
Grey Daturas,
Lou Reed,
Oneida,
Theoretical Girls,
L. Decosne,
Jeff Mills,
Big Daddy Kane,
Janne Schatter,
Grauzone,
Eve St. Jones,
Dawn Penn,
Mission of Burma,
Lyres,
Barrington Levy,
Joe Smooth,
Cheater Slicks,
Heavy D & The Boyz,
The Gap Band,
AZ,
Be Bop Deluxe,
Ronnie Foster,
D'Angelo,
DJ Style,
Das Ding,
E-Dancer,
Funkadelic,
The Happenings,
Groovy Waters,
JFA,
Mr. Review,
Dorothy Ashby,
Echospace,
Pharaoh Sanders and the Fire Engines,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.