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 Guatemala and from Mexico City.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Bologna and Shanghai.
I'm losing my edge to the art-school Seoul 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin 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 Alice Coltrane to the funk 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 Minnie Riperton. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Hasil Adkins record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Tom Boy,
Morten Harket,
Cybotron,
Suburban Knight,
David Bowie,
X-Ray Spex,
PIL,
Sun City Girls,
Sugar Minott,
Lebanon Hanover,
Lalo Schifrin,
The Flesh Eaters,
Echo & the Bunnymen,
The Gladiators,
These Immortal Souls,
This Heat,
Nik Kershaw,
Technova,
Kaleidoscope,
Oblivians,
The Fall,
Super Lover Cee & Casanova Rud,
Traffic Nightmare,
Motorama,
Nick Cave & The Bad Seeds,
The Fugs,
Animal Collective,
Vladislav Delay,
Kauko Röyhkä ja Narttu,
Rosa Yemen,
the Soft Cell,
Gang of Four,
Anthony Braxton,
Eli Mardock,
Black Bananas,
Ajijia Myrayebe,
CMW,
Moby Grape,
June Days,
a-ha,
The Fire Engines,
Robert Hood,
Lower 48,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Index,
Mandrill,
Brand Nubian,
Soft Machine,
Wasted Youth,
Kenny Larkin,
Masters at Work,
Newcleus,
Bobby Hutcherson,
the Association,
The Monochrome Set,
Lou Reed,
The Pop Group,
Suicide,
Average White Band,
Archie Shepp,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
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.