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 Montenegro and from Milan.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Portland and Mexico City.
I'm losing my edge to the art-school Paris 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 Mistral practice in a loft in Amsterdam.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Liliput to the crunk 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 Laurel Aitken. All the underground hits.
All The Kinks tracks. I heard you have a vinyl of every Peter & Gordon 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
The Leaves,
Judy Mowatt,
Marc Romboy vs. Booka Shade,
Röyhkä ja Rättö ja Lehtisalo,
Dennis Brown,
Isaac Hayes,
Alton Ellis,
Thee Headcoats,
Severed Heads,
Hasil Adkins,
The Stooges,
Radiopuhelimet,
Gian Franco Pienzio,
Marmalade,
Mark Hollis,
Oneida,
The Detroit Cobras,
The Vogues,
Vainqueur,
Swell Maps,
The Offenders,
Nick Cave & The Bad Seeds,
Gong,
Banda Bassotti,
Oblivians,
Justin Hinds & The Dominoes,
K-Klass,
Fear,
Peter Gordon & Love of Life Orchestra,
Index,
Sixth Finger,
The Toasters,
Reuben Wilson,
The Smiths,
Crash Course in Science,
Janne Schatter,
The Beau Brummels,
Rod Modell,
Graham Central Station,
Black Moon,
KRS-One,
Notorious Big And Bone Thugs,
Donald Byrd,
Gerry Rafferty,
David Axelrod,
Flash Fearless,
Eli Mardock,
John Holt,
the Slits,
Neu!,
X-101,
The Golliwogs,
Kauko Röyhkä ja Narttu,
Zero Boys,
Section 25,
Marcia Griffiths,
Grey Daturas,
Infiniti,
The J.B.'s,
The Royal Family And The Poor,
Roy Ayers Ubiquity,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.