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 Bahrain 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 1969 to 1976.
I'm losing my edge.
To all the kids in Tehran and Mumbai.
I'm losing my edge to the art-school Johannesburg 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the marimba 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 Avey Tare to the techno 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 Lee Hazlewood. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Thee Headcoats record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
The Music Machine,
48th St. Collective,
Gang of Four,
Toni Rubio,
Bootsy Collins,
Notorious Big And Bone Thugs,
Funky Four + One,
K-Klass,
The Flesh Eaters,
R.M.O.,
Rhythm & Sound,
The Sonics,
Ludus,
Be Bop Deluxe,
Tommy Roe,
Nick Fraelich,
Curtis Mayfield,
Sister Nancy,
Royal Trux,
Magma,
The United States of America,
Alton Ellis,
Dawn Penn,
Intrusion,
Harpers Bizarre,
Lou Reed & John Cale,
Kaleidoscope,
Drive Like Jehu,
Lindisfarne,
Marcia Griffiths,
Desert Stars,
Gil Scott-Heron & Brian Jackson,
DNA,
Richard Hell and the Voidoids,
Fatback Band,
Darondo,
Arab on Radar,
OOIOO,
Deakin,
Jeff Lynne,
Clear Light,
Zero Boys,
The Fall,
The West Coast Pop Art Experimental Band,
Leonard Cohen,
Jeru the Damaja,
Yaz,
The Tremeloes,
Michelle Simonal,
Marmalade,
Guru Guru,
Silicon Teens,
Bobby Sherman,
Juan Atkins,
The Neon Judgement,
Electric Light Orchestra,
F. McDonald,
Tres Demented,
Smog,
Faust,
Infiniti,
The Fugs, The Fugs, The Fugs, The Fugs.
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.