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 Syria and from Edmonton.
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 1961 to 1973.
I'm losing my edge.
To all the kids in New York and Hong Kong.
I'm losing my edge to the art-school Delhi 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 1973 at the first Television practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Warsaw to the disco kids.
I played it at Trash.
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 Young Marble Giants. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Severed Heads,
Clear Light,
Red Lorry Yellow Lorry,
Jimmy McGriff,
Prince Buster,
Colin Newman,
Unrelated Segments,
The Remains,
Pole,
Smog,
Curtis Mayfield,
Echospace,
Johnny Clarke,
Bobby Sherman,
Pharoah Sanders,
Maurizio,
H. Thieme,
Roy Ayers Ubiquity,
The Knickerbockers,
Camberwell Now,
The Mighty Diamonds,
Thee Headcoats,
The Last Poets,
The Beau Brummels,
Scientists,
The Mummies,
Chrome,
World's Most,
Basic Channel,
Aaron Thompson,
The Grass Roots,
Loose Ends,
Dark Day,
Country Teasers,
R.M.O.,
Eden Ahbez,
Barclay James Harvest,
Scrapy,
The Barracudas,
Robert Görl,
Popol Vuh,
Tim Buckley,
Hot Snakes,
Sonny Sharrock,
KRS-One,
Rahsaan Roland Kirk,
It's A Beautiful Day,
Aural Exciters,
Public Image Ltd.,
Johnny Osbourne,
Nik Kershaw,
Organ,
Black Sheep,
Donald Byrd,
ABBA,
Vainqueur,
Index,
D'Angelo,
Ossler,
Deakin,
Kauko Röyhkä ja Narttu,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.