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 Papua New Guinea and from Houston.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Salvador.
I'm losing my edge to the art-school Halifax 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 harpsichord 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 Eli Mardock to the techno 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 Swans. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Yusef Lateef record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Traffic Nightmare,
Don Cherry,
Sonny Sharrock,
Stereo Dub,
Popol Vuh,
Danielle Patucci,
Youth Brigade,
Oneida,
The Human League,
Boogie Down Productions,
Robert Wyatt,
Sun City Girls,
Gichy Dan,
The Martian,
The Cure,
Electric Prunes,
JFA,
Kauko Röyhkä ja Narttu,
Ken Boothe,
Nick Fraelich,
Albert Ayler,
Excepter,
Morten Harket,
Soul II Soul,
Junior Murvin,
Arcadia,
Pylon,
Newcleus,
Porter Ricks,
The Flesh Eaters,
Echospace,
Black Sheep,
CMW,
Peter Gordon & Love of Life Orchestra,
Man Parrish,
James White and The Blacks,
Toni Rubio,
Tears for Fears,
Carl Craig,
Lizzy Mercier Descloux,
The Sound,
Minor Threat,
Subhumans,
Blancmange,
Siouxsie and the Banshees,
Ludus,
Dawn Penn,
Deutsch Amerikanische Freundschaft,
Judy Mowatt,
Notorious Big And Bone Thugs,
Avey Tare's Slasher Flicks,
Siglo XX,
Visage,
Roy Ayers Ubiquity,
Radio Birdman,
OOIOO,
H. Thieme,
The West Coast Pop Art Experimental Band,
Rekid,
X-101,
Bob Dylan,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.