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 Ecuador and from Johannesburg.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Calgary and Paris.
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 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 Rufus Thomas to the disco 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 Talk Talk. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every Matthew Halsall record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Accadde A,
The Blues Magoos,
Tubeway Army,
The Saints,
Brick,
The Fugs,
Rhythim Is Rhythim,
Bootsy Collins,
The Count Five,
Visionaries,LMNO, T- Love & Iriscience,
The Kinks,
the Fania All-Stars,
Boogie Down Productions,
The Remains,
Crooked Eye,
Pharoah Sanders,
The Royal Family And The Poor,
A Flock of Seagulls,
The New Christs,
Robert Wyatt,
Roy Ayers,
Scratch Acid,
Tomorrow,
Suburban Knight,
Sex Pistols,
Angry Samoans,
Andrew Ashong & Theo Parrish,
Youth Brigade,
Reuben Wilson,
Eden Ahbez,
Pole,
Nick Fraelich,
Colin Newman,
Rosa Yemen,
Zapp,
The West Coast Pop Art Experimental Band,
Marvin Gaye,
Joe Smooth,
The Durutti Column,
In Retrospect,
Tres Demented,
Faust,
Nas,
Young Marble Giants,
Anthony Braxton,
Delon & Dalcan,
The Cowsills,
Oppenheimer Analysis,
The Men They Couldn't Hang,
Scan 7,
Mary Jane Girls,
Bronski Beat,
Darondo,
Boz Scaggs,
Quando Quango,
The Red Krayola,
Intrusion,
The Monochrome Set,
The Fuzztones,
Dorothy Ashby,
Index, Index, Index, Index.
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.