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 Gabon and from Salvador.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Tehran and Mexico City.
I'm losing my edge to the art-school Stockholm 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer 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 The Toasters to the crunk kids.
I played it at the Crocodile.
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 Gian Franco Pienzio. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every Malaria! record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a These Immortal Souls record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cure,
Bang On A Can,
Banda Bassotti,
The Names,
The Young Rascals,
Unrelated Segments,
Symarip,
Larry & the Blue Notes,
Excepter,
Ronnie Foster,
Traffic Nightmare,
Sun Ra Arkestra,
Bootsy Collins,
Aural Exciters,
DJ Sneak,
Roy Ayers,
Stockholm Monsters,
The Mojo Men,
Lalo Schifrin,
MDC,
the Normal,
Dawn Penn,
The Electric Prunes,
Justin Hinds & The Dominoes,
Dave Gahan,
The Durutti Column,
Sixth Finger,
Oppenheimer Analysis,
Slave,
Model 500,
Ice-T,
The Barracudas,
Silicon Teens,
Rekid,
Essential Logic,
Basic Channel,
Rosa Yemen,
Nirvana,
Fugazi,
Marc Romboy vs. Booka Shade,
Yusef Lateef,
Mr. Review,
Angels of Light & Akron/Family,
A Certain Ratio,
De La Soul & Jungle Brothers,
Monolake,
Skriet,
Black Flag,
Brick,
cv313,
Smog,
Jawbox,
Gerry Rafferty,
Cymande,
Brand Nubian,
Todd Rundgren,
Ultravox,
Oblivians,
Joensuu 1685,
Nils Olav,
Icehouse, Icehouse, Icehouse, Icehouse.
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.