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 Maldives and from Bremen.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1979.
I'm losing my edge.
To all the kids in Madrid and Madrid.
I'm losing my edge to the art-school Delhi 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 synthesizer 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 Unwound to the dance kids.
I played it at Cafe Wha.
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 Oppenheimer Analysis. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every The Electric Prunes record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your marimba and bought a guitar.
I hear that you and your band have sold your guitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
the Swans,
Gil Scott Heron,
Fat Boys,
Jerry's Kids,
Dawn Penn,
Judy Mowatt,
The Fall,
X-102,
Röyhkä ja Rättö ja Lehtisalo,
Jacob Miller,
Brick,
Suburban Knight,
Graham Central Station,
Spandau Ballet,
The American Breed,
Anthony Braxton,
Lou Reed & John Cale,
Frankie Knuckles,
The Young Rascals,
Yusef Lateef,
Avey Tare & Kría Brekkan,
Boredoms,
The Smoke,
Dave Gahan,
Bronski Beat,
Matthew Halsall,
The Mummies,
Sun Ra Arkestra,
Marc Almond,
Orchestral Manoeuvres in the Dark,
Public Image Ltd.,
Pet Shop Boys,
Neil Young & Crazy Horse,
Peter & Gordon,
The Chocolate Watch Band,
Black Sheep,
John Holt,
London Community Gospel Choir,
Barry Ungar,
Anakelly,
Severed Heads,
Robert Hood,
The Durutti Column,
Young Marble Giants,
Dennis Brown,
Yellowson,
Main Source,
Thinking Fellers Union Local 282,
Cameo,
Lee Hazlewood,
Rhythim Is Rhythim,
Kaleidoscope,
Arab on Radar,
Magazine,
The Pop Group,
Marine Girls,
Masters at Work,
Gerry Rafferty,
Funky Four + One,
Lower 48,
Todd Terry,
Ultramagnetic MC's,
Lakeside,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.