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 Tanzania and from Milan.
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 1976.
I'm losing my edge.
To all the kids in Lagos and Spokane.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Pharaoh Sanders and the Fire Engines to the disco kids.
I played it at the Spitz.
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 Colin Newman. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every Morten Harket record on German import.
I heard that you have a white label of every seminal crunk 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 a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
Rod Modell,
Harmonia,
Crispian St. Peters,
Roger Hodgson,
The Names,
Sun Ra,
Nas,
Sandy B,
Fear,
Gang of Four,
EPMD,
The Durutti Column,
Public Image Ltd.,
Girls At Our Best!,
Can,
Amon Düül II,
Ornette Coleman,
Oblivians,
Andrew Ashong & Theo Parrish,
Alton Ellis,
Godley & Creme,
Joyce Sims,
F. McDonald,
The Leaves,
Eli Mardock,
Ten City,
Throbbing Gristle,
Monolake,
cv313,
Tropical Tobacco,
Guru Guru,
The Victims,
Cluster,
The Doobie Brothers,
The Invisible,
Qualms,
Brass Construction,
Ajijia Myrayebe,
Cabaret Voltaire,
Moss Icon,
Minor Threat,
Roxette,
the Fania All-Stars,
Ultimate Spinach,
Donny Hathaway,
Angels of Light & Akron/Family,
Gang Green,
Blancmange,
Pierre Henry,
Röyhkä ja Rättö ja Lehtisalo,
The Music Machine,
Cybotron,
Jacques Brel,
Rekid,
Alphaville,
Scott Walker,
Bang On A Can,
Sugar Minott,
Clear Light,
Pere Ubu,
Scratch Acid,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.