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 Madagascar and from Stockholm.
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 1971.
I'm losing my edge.
To all the kids in Seoul and Lagos.
I'm losing my edge to the art-school Delhi 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 The Velvet Underground to the techno kids.
I played it at the 40 Watt.
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 EPMD. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every John Holt 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 '80s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
David McCallum,
Super Lover Cee & Casanova Rud,
Sparks,
The Fall,
Dark Day,
Shoche,
Schoolly D,
Zero Boys,
Technova,
Desert Stars,
Laurel Aitken,
Second Layer,
The Knickerbockers,
Popol Vuh,
Saccharine Trust,
Half Japanese,
Oblivians,
Ludus,
The Mighty Diamonds,
The Last Poets,
Andrew Hill,
Talk Talk,
Eric Dolphy,
The Dave Clark Five,
Malaria!,
The Fortunes,
Grandmaster Flash and the Furious Five,
T. Rex,
Harpers Bizarre,
Stiv Bators,
This Heat,
Soul Sonic Force,
Angels of Light & Akron/Family,
The Moleskins,
Jeff Lynne,
Donald Byrd,
Massinfluence,
Roger Hodgson,
Girls At Our Best!,
Dual Sessions,
Sun Ra,
The Chocolate Watch Band,
Anakelly,
Visage,
Teenage Jesus and the Jerks,
Pulsallama,
Roxy Music,
Bobby Sherman,
The Music Machine,
DJ Style,
Peter Gordon & Love of Life Orchestra,
Chris Corsano,
Connie Case,
The Royal Family And The Poor,
The Seeds,
The Saints,
The Walker Brothers,
June Days,
Camberwell Now,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.