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 India and from Taipei.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Edmonton.
I'm losing my edge to the art-school Spokane 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Quando Quango to the funk 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 Todd Terry. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every Isaac Hayes 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
K-Klass,
The Peanut Butter Conspiracy,
Visage,
Thompson Twins,
Sam Rivers,
Negative Approach,
Avey Tare,
James Chance & The Contortions,
The J.B.'s,
Roxy Music,
The Alarm Clocks,
Ronan,
Pulsallama,
Louis and Bebe Barron,
The Cramps,
Aaron Thompson,
Bizarre Inc.,
KRS-One,
Masters at Work,
The Smiths,
Popol Vuh,
Fort Wilson Riot,
The Index,
The Selecter,
Eric Dolphy,
The Gap Band,
Steve Hackett,
Symarip,
John Lydon,
Erasure,
Marine Girls,
Wire,
Television,
Fat Boys,
The Cosmic Jokers,
Grey Daturas,
Matthew Halsall,
R.M.O.,
The Martian,
The Residents,
Man Parrish,
Fatback Band,
Shuggie Otis,
Notorious Big And Bone Thugs,
Crispian St. Peters,
Ajijia Myrayebe,
Grauzone,
FM Einheit,
One Last Wish,
A Certain Ratio,
the Soft Cell,
10cc,
Tommy Roe,
The Standells,
Maleditus Sound,
Agitation Free,
Crispy Ambulance,
Pantaleimon,
Lee Hazlewood,
Crash Course in Science,
Rekid,
The Monks, The Monks, The Monks, The Monks.
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.