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 Lithuania and from Philadelphia.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Columbus and Johannesburg.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Albert Ayler to the funk 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 Ohio Players. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every LL Cool J record on German import.
I heard that you have a white label of every seminal crunk 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 mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a John Lydon record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
The Fugs,
Kings Of Tomorrow,
Captain Beefheart & His Magic Band,
Fear,
Angels of Light & Akron/Family,
Electric Prunes,
Jawbox,
Anthony Braxton,
Babytalk,
a-ha,
Dorothy Ashby,
The Neon Judgement,
Lucky Dragons,
Graham Central Station,
Jesper Dahlback,
Radio Birdman,
Los Fastidios,
Schoolly D,
Idris Muhammad,
Zero Boys,
Drive Like Jehu,
E-Dancer,
Loose Ends,
Ronan,
X-Ray Spex,
Donald Byrd,
Camron Feat. Memphis Bleek And Beenie Seigel,
Warsaw,
Con Funk Shun,
X-102,
Pantaleimon,
the Slits,
The Sound,
Morten Harket,
Technova,
Eric B and Rakim,
Roxette,
Eli Mardock,
Ash Ra Tempel,
Dawn Penn,
Matthew Halsall,
The Doors,
The Zeros,
Public Image Ltd.,
Niagra,
Alphaville,
La Düsseldorf,
The Detroit Cobras,
Symarip,
PIL,
Stiv Bators,
Danielle Patucci,
Ronnie Foster,
the Association,
James White and The Blacks,
The Flesh Eaters,
Brass Construction,
Funkadelic,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.