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 Bangladesh and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1972.
I'm losing my edge.
To all the kids in Bologna and Johannesburg.
I'm losing my edge to the art-school Tokyo 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 oboe 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 funk kids.
I played it at Trash.
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 London Community Gospel Choir. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Symarip record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Grandmaster Flash,
Brass Construction,
Cal Tjader,
X-102,
Whodini,
the Fania All-Stars,
The Knickerbockers,
Hardrive,
Cameo,
The Monks,
Make Up,
Morten Harket,
Joy Division,
Junior Murvin,
Mo-Dettes,
T. Rex,
Electric Prunes,
ABBA,
Echospace,
X-Ray Spex,
Avey Tare & Kría Brekkan,
MC5,
Judy Mowatt,
James White and The Blacks,
B.T. Express,
The Moleskins,
Grauzone,
Selector Dub Narcotic,
Deepchord,
The Grass Roots,
Tom Boy,
Nick Fraelich,
James Chance & The Contortions,
The Mummies,
Major Organ And The Adding Machine,
Sarah Menescal,
Minor Threat,
De La Soul & Jungle Brothers,
New York Dolls,
Notorious Big And Bone Thugs,
Minnie Riperton,
Robert Görl,
The Raincoats,
Moebius,
Tomorrow,
Yellowson,
Barclay James Harvest,
Radiopuhelimet,
Lalann,
The Detroit Cobras,
Sun City Girls,
Graham Central Station,
E-Dancer,
Darondo,
Jawbox,
Laurel Aitken,
The Royal Family And The Poor,
Tubeway Army,
Lower 48,
The Beau Brummels,
Parry Music, Parry Music, Parry Music, Parry Music.
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.