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 Pakistan and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1977.
I'm losing my edge.
To all the kids in Seoul and Houston.
I'm losing my edge to the art-school Salvador 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Slick Rick to the grime kids.
I played it at the Crocodile.
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 Skriet. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Sugar Minott 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
X-Ray Spex,
Pagans,
10cc,
Avey Tare,
Porter Ricks,
Avey Tare & Kría Brekkan,
Matthew Bourne,
Robert Hood,
The Moody Blues,
Interpol,
Cluster,
Alphaville,
Rotary Connection,
Sun City Girls,
T. Rex,
the Association,
E-Dancer,
Teenage Jesus and the Jerks,
Desert Stars,
Notorious BIG live in Amsterdam,
Grey Daturas,
Todd Rundgren,
Mary Jane Girls,
Danielle Patucci,
The Peanut Butter Conspiracy,
L. Decosne,
Soft Cell,
The Doobie Brothers,
It's A Beautiful Day,
Agent Orange,
Man Parrish,
Black Flag,
Joe Smooth,
Toni Rubio,
James White and The Blacks,
Y Pants,
Magazine,
The Pop Group,
Selector Dub Narcotic,
The Busters,
Sonic Youth,
Man Eating Sloth,
Brass Construction,
Sam Rivers,
Sun Ra Arkestra,
The Toasters,
Minny Pops,
Blake Baxter,
Vainqueur,
Slave,
Beasts of Bourbon,
Avey Tare's Slasher Flicks,
Cabaret Voltaire,
The Gories,
FM Einheit,
Parry Music,
Gregory Isaacs,
F. McDonald,
The Litter,
The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers.
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.