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 Kiribati and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Manchester and Glasgow.
I'm losing my edge to the art-school Columbus 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Kurtis Blow to the disco kids.
I played it at the 40 Watt.
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 Scott Walker. All the underground hits.
All Simply Red tracks. I heard you have a vinyl of every The Residents 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Fear,
Patti Smith,
CMW,
Skarface,
Peter & Gordon,
Bobbi Humphrey,
Gregory Isaacs,
Bobby Womack,
the Soft Cell,
Glenn Branca,
Lou Christie,
The Raincoats,
Popol Vuh,
Faraquet,
KRS-One,
The Peanut Butter Conspiracy,
Ronnie Foster,
Electric Prunes,
Section 25,
Model 500,
Black Sheep,
The American Breed,
Art Ensemble Of Chicago,
Scratch Acid,
F. McDonald,
Little Man,
Maurizio,
Lizzy Mercier Descloux,
Severed Heads,
Organ,
The Divine Comedy,
Cybotron,
Bobby Sherman,
Red Lorry Yellow Lorry,
Young Marble Giants,
Parry Music,
Howard Jones,
Eric Copeland,
Outsiders,
The Evens,
Scott Walker,
The Seeds,
John Holt,
Thompson Twins,
Blossom Toes,
The Doors,
Sällskapet,
Adolescents,
In Retrospect,
Zapp,
Susan Cadogan,
The Alarm Clocks,
Nils Olav,
Hoover,
Danielle Patucci,
Mad Mike,
Inner City,
Al Stewart,
Bang On A Can,
Jesper Dahlback,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.