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 Trinidad & Tobago and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Stockholm.
I'm losing my edge to the art-school Edmonton 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 Nile Rodgers 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 Toni Rubio to the grime kids.
I played it at the Spitz.
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 Oblivians. All the underground hits.
All DNA tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gerry Rafferty record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barbara Tucker,
the Human League,
Joyce Sims,
New Age Steppers,
Morten Harket,
U.S. Maple,
Manfred Mann's Earth Band,
E-Dancer,
Scrapy,
Animal Collective,
Oppenheimer Analysis,
Fluxion,
The Neon Judgement,
Harry Pussy,
K-Klass,
Soft Machine,
Electric Prunes,
The Searchers,
The Leaves,
Louis and Bebe Barron,
Avey Tare's Slasher Flicks,
T. Rex,
Marcia Griffiths,
Moebius,
Terrestrial Tones,
Minnie Riperton,
Funkadelic,
Drive Like Jehu,
Laurel Aitken,
The Toasters,
Bob Dylan,
Tom Boy,
Camouflage,
Sound Behaviour,
The Alarm Clocks,
Mo-Dettes,
Soul II Soul,
David Axelrod,
The Doors,
The Mojo Men,
Kool G Rap & DJ Polo,
Reuben Wilson,
Kauko Röyhkä ja Narttu,
Hardrive,
Chrome,
FM Einheit,
Moss Icon,
Gang Green,
KRS-One,
The Last Poets,
8 Eyed Spy,
Sex Pistols,
Magma,
The Dirtbombs,
Hot Snakes,
Liliput,
Radio Birdman,
Easy Going,
The Victims,
Mantronix, Mantronix, Mantronix, Mantronix.
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.