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 Tunisia and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Woodstock.
I'm losing my edge to the art-school Lyon 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 Human League practice in a loft in Sheffield.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Ossler 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 Ash Ra Tempel. All the underground hits.
All Masta Ace, Craig G, Kool G Rap, Big Daddy Kane tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Dawn Penn record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Aaron Thompson,
The Barracudas,
Curtis Mayfield,
Fatback Band,
Grandmaster Flash and the Furious Five,
The Fugs,
Magazine,
Infiniti,
The Smiths,
Clear Light,
The Five Americans,
Sight & Sound,
World's Most,
Easy Going,
Oblivians,
Subhumans,
Henry Cow,
Crime,
Moby Grape,
Bobby Hutcherson,
Angry Samoans,
Isaac Hayes,
Richard Hell and the Voidoids,
Rufus Thomas,
Ultravox,
Malaria!,
The Dead C,
Swell Maps,
Be Bop Deluxe,
Mandrill,
Parry Music,
Eden Ahbez,
Hasil Adkins,
The Grass Roots,
Erykah Badu,
Silicon Teens,
Alton Ellis,
Kayak,
Aural Exciters,
Young Marble Giants,
The Cramps,
Nik Kershaw,
The Velvet Underground,
The Raincoats,
Gang of Four,
The Star Department,
Swans,
The Wake,
The Birthday Party,
Can,
Arcadia,
Cluster,
Gong,
Half Japanese,
Pussy Galore,
The Invisible,
Stiv Bators,
Make Up,
Porter Ricks,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.