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 Swaziland and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1972.
I'm losing my edge.
To all the kids in Glasgow and Johannesburg.
I'm losing my edge to the art-school Mumbai 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Kevin Saunderson to the funk kids.
I played it at the Astoria.
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 Howard Jones. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every Bang on a Can All-Stars record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Lower 48,
Lou Reed & John Cale,
Scott Walker,
Roxy Music,
Q and Not U,
Dark Day,
Idris Muhammad,
John Lydon,
Country Joe & The Fish,
Terry Callier,
Traffic Nightmare,
Scrapy,
Neil Young & Crazy Horse,
Gang Green,
Fatback Band,
James White and The Blacks,
Max Romeo,
Sight & Sound,
Ultra Naté,
Underground Resistance,
Avey Tare & Kría Brekkan,
Kool Moe Dee,
Altered Images,
Skriet,
The Cowsills,
Yellowson,
Radiohead,
Ossler,
Neu!,
The Fortunes,
In Retrospect,
Oblivians,
Blake Baxter,
Grauzone,
James Chance & The Contortions,
Michelle Simonal,
Marshall Jefferson,
Gil Scott Heron,
Reagan Youth,
Aural Exciters,
Eric Copeland,
Nico,
Roy Ayers,
The Moleskins,
Cheater Slicks,
Echo & the Bunnymen,
Dr. Dre and Snoop Doggy Dog,
Black Bananas,
Fear,
JFA,
Flash Fearless,
Throbbing Gristle,
Harpers Bizarre,
The Moody Blues,
Oppenheimer Analysis,
Rakim,
Patti Smith,
Gerry Rafferty,
The Leaves,
Sonny Sharrock,
Toni Rubio,
E-Dancer,
Technova, Technova, Technova, Technova.
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.