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 South Sudan and from Shanghai.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Taipei and New York.
I'm losing my edge to the art-school Mumbai 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 organ 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 Henry Cow to the funk 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 Hot Snakes. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
E-Dancer,
X-Ray Spex,
Amazonics,
The Doors,
Thompson Twins,
Minutemen,
Section 25,
Bang on a Can All-Stars,
John Cale,
Nick Cave & The Bad Seeds,
The Knickerbockers,
The Slackers,
the Slits,
Jandek,
Judy Mowatt,
Eli Mardock,
Public Image Ltd.,
Bobby Byrd,
Liliput,
Avey Tare's Slasher Flicks,
Hot Snakes,
Matthew Bourne,
Vladislav Delay,
Kas Product,
Lou Christie,
Quando Quango,
Bronski Beat,
A Certain Ratio,
Rekid,
Newcleus,
Excepter,
Joy Division,
Frankie Knuckles,
Yazoo,
H. Thieme,
The Victims,
Sister Nancy,
Ossler,
Nas,
Kool Moe Dee,
Sonny Sharrock,
Spandau Ballet,
Wighnomy Brothers & Robag Wruhme,
Mars,
Howard Jones,
Connie Case,
Pete Rock & C.L. Smooth,
Lebanon Hanover,
Marvin Gaye,
Brick,
Avey Tare & Kría Brekkan,
Chris & Cosey,
Nick Fraelich,
Underground Resistance,
Brass Construction,
Arthur Verocai,
Talk Talk,
Ornette Coleman,
Zero Boys,
The Seeds,
Yusef Lateef,
Arcadia,
The Dave Clark Five, The Dave Clark Five, The Dave Clark Five, The Dave Clark Five.
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.