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 Cairo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
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 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 Kerrie Biddell to the techno 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 Bush Tetras. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal jazz 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 snare and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
Tommy Roe,
Bang On A Can,
Loose Ends,
Dark Day,
Urselle,
Scrapy,
the Slits,
a-ha,
Dual Sessions,
Eric B and Rakim,
Fatback Band,
Khruangbin,
Wings,
The United States of America,
The Martian,
Deadbeat,
Television,
Scan 7,
Marvin Gaye,
Kerri Chandler,
The Modern Lovers,
Ultimate Spinach,
U.S. Maple,
T.S.O.L.,
Liliput,
Rotary Connection,
Lebanon Hanover,
Black Bananas,
the Fania All-Stars,
Lyres,
Kurtis Blow,
the Sonics,
Cybotron,
Sticky Fingaz feat. Raekwon,
Icehouse,
Andrew Ashong & Theo Parrish,
Lonnie Liston Smith,
Faust,
The Techniques,
Stereo Dub,
the Swans,
The Peanut Butter Conspiracy,
Sad Lovers and Giants,
Eve St. Jones,
The Detroit Cobras,
Kool Moe Dee,
The Remains,
Silicon Teens,
Rufus Thomas,
MC5,
The Searchers,
The Monochrome Set,
Echo & the Bunnymen,
Joey Negro,
Sister Nancy,
Bluetip,
The Fuzztones,
Selector Dub Narcotic,
Lindisfarne, Lindisfarne, Lindisfarne, Lindisfarne.
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.