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 Papua New Guinea and from Mumbai.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1975.
I'm losing my edge.
To all the kids in Shanghai and Stockholm.
I'm losing my edge to the art-school Woodstock 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Nas to the disco kids.
I played it at the Roxy.
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 Echospace. All the underground hits.
All Fifty Foot Hose tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Kurtis Blow,
The Motions,
The Barracudas,
Echo & the Bunnymen,
Kauko Röyhkä ja Narttu,
Hashim,
Sonny Sharrock,
The Fugs,
the Fania All-Stars,
Infiniti,
Oneida,
Fear,
Ten City,
Kas Product,
Marc Almond,
AZ,
Fela Kuti,
Black Bananas,
Porter Ricks,
Kango’s Stein Massive,
the Association,
Maleditus Sound,
Rhythm & Sound,
Teenage Jesus and the Jerks,
James White and The Blacks,
Nils Olav,
MDC,
Depeche Mode,
Dead Boys,
The Star Department,
Desert Stars,
KRS-One,
Scott Walker,
Piero Umiliani,
The Leaves,
Pere Ubu,
The Cowsills,
Tomorrow,
Cymande,
Flash Fearless,
Peter and Kerry,
Soft Machine,
Skaos,
Eli Mardock,
Underground Resistance,
The Mighty Diamonds,
Funkadelic,
Laurel Aitken,
Quantec,
The Young Rascals,
Stockholm Monsters,
The Human League,
The Seeds,
Connie Case,
Half Japanese,
Pharoah Sanders,
Lee Hazlewood,
The Tremeloes,
Brand Nubian,
Cabaret Voltaire,
Fluxion,
Lyres, Lyres, Lyres, Lyres.
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.