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 St Kitts & Nevis and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Winnipeg and New York.
I'm losing my edge to the art-school Lille 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Mark Hollis to the disco kids.
I played it at the Troubador.
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 Negative Approach. All the underground hits.
All Gong tracks. I heard you have a vinyl of every DNA record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
Yusef Lateef,
Con Funk Shun,
Soulsonic Force,
Sight & Sound,
The Martian,
Nik Kershaw,
Heavy D & The Boyz,
Spandau Ballet,
Minor Threat,
JFA,
The Walker Brothers,
Warsaw,
Public Enemy,
Drive Like Jehu,
Howard Jones,
Sonic Youth,
48th St. Collective,
Desert Stars,
Outsiders,
Lucky Dragons,
Judy Mowatt,
Pete Rock & C.L. Smooth,
The Index,
Joensuu 1685,
Bang on a Can All-Stars,
Lou Christie,
Rod Modell,
Brothers Johnson,
Organ,
Gang Starr,
Barbara Tucker,
Amon Düül II,
The Grass Roots,
Simply Red,
Ultimate Spinach,
Smog,
The Monochrome Set,
H. Thieme,
Mary Jane Girls,
De La Soul & Jungle Brothers,
La Düsseldorf,
PIL,
Severed Heads,
Slave,
Roy Ayers,
The Sound,
James Chance & The Contortions,
Radiohead,
Saccharine Trust,
The West Coast Pop Art Experimental Band,
Quantec,
Be Bop Deluxe,
Ronnie Foster,
Tim Buckley,
Icehouse,
Babytalk,
F. McDonald,
The Barracudas,
Deepchord,
Wings,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.