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 Lesotho and from Beijing.
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 1973.
I'm losing my edge.
To all the kids in Spokane and Halifax.
I'm losing my edge to the art-school London 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Motorama 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 Steve Hackett. All the underground hits.
All Jeff Lynne tracks. I heard you have a vinyl of every Dorothy Ashby record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your snare and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
Zero Boys,
Graham Central Station,
Gary Puckett & The Union Gap,
Brothers Johnson,
Stetsasonic,
The Gun Club,
Big Daddy Kane,
Moby Grape,
The Music Machine,
Cabaret Voltaire,
Angry Samoans,
Tropical Tobacco,
De La Soul & Jungle Brothers,
Alice Coltrane,
Swans,
Television Personalities,
Spandau Ballet,
Sun Ra Arkestra,
Rekid,
The Walker Brothers,
Kenny Larkin,
Newcleus,
Aswad,
The Velvet Underground,
Flash Fearless,
The Leaves,
Scan 7,
Jerry's Kids,
Eric Copeland,
Oneida,
The Blackbyrds,
Trumans Water,
Spoonie Gee,
Mantronix,
Motorama,
Howard Jones,
Don Cherry,
The Fugs,
Bronski Beat,
The Happenings,
Nico,
Can,
Derrick May,
Icehouse,
Model 500,
Terror Squad Feat. Camron,
Niagra,
Black Moon,
The Searchers,
Deutsch Amerikanische Freundschaft,
Teenage Jesus and the Jerks,
The Real Kids,
Barbara Tucker,
The Last Poets,
Ice-T,
Colin Newman,
China Crisis,
Ultramagnetic MC's,
the Human League,
Lalann,
The West Coast Pop Art Experimental Band,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.