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 Samoa and from Madrid.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Manchester and Toronto.
I'm losing my edge to the art-school Beijing 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the 808 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 Cameo to the electroclash kids.
I played it at the Hacienda.
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 Underground Resistance. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Maurizio 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 linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
the Slits,
Dave Gahan,
Zapp,
Gichy Dan,
Janne Schatter,
Audionom,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Malaria!,
Unrelated Segments,
JFA,
Pantytec,
Drive Like Jehu,
Terrestrial Tones,
Interpol,
The Detroit Cobras,
Slick Rick,
One Last Wish,
Anthony Braxton,
The Smoke,
Cybotron,
Ultravox,
Gong,
Monolake,
Avey Tare,
U.S. Maple,
Avey Tare's Slasher Flicks,
Glambeats Corp.,
Warsaw,
Barry Ungar,
Stiv Bators,
Joensuu 1685,
Traffic Nightmare,
Index,
The Angels of Light,
Minor Threat,
Chrome,
Kool G Rap & DJ Polo,
Barrington Levy,
The Raincoats,
Lyres,
Kango’s Stein Massive,
Inner City,
Minny Pops,
John Coltrane,
Visage,
Oneida,
Mantronix,
Johnny Clarke,
Gastr Del Sol,
Alton Ellis,
Parry Music,
Erykah Badu,
Jacob Miller,
Patti Smith,
Livin' Joy,
Crooked Eye,
Iggy Pop,
The Pretty Things,
Chris Corsano,
Rakim,
Black Moon, Black Moon, Black Moon, Black Moon.
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.