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 Taiwan and from Sao Paulo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1966 to 1974.
I'm losing my edge.
To all the kids in New York and Copenhagen.
I'm losing my edge to the art-school Winnipeg 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 arpeggiator 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 Joey Negro to the funk kids.
I played it at the Troubador.
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 Dorothy Ashby. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Scan 7 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Scott Walker,
David Axelrod,
Avey Tare's Slasher Flicks,
Kings Of Tomorrow,
The United States of America,
Sly & The Family Stone,
Parry Music,
Joensuu 1685,
Fear,
Strawberry Alarm Clock,
Loose Ends,
Pere Ubu,
The Residents,
The Martian,
Blake Baxter,
Louis and Bebe Barron,
Gil Scott-Heron & Brian Jackson,
the Association,
New Order,
The Blackbyrds,
Brothers Johnson,
Pharoah Sanders,
Underground Resistance,
Joe Smooth,
Oblivians,
Traffic Nightmare,
Mad Mike,
Royal Trux,
Lonnie Liston Smith,
DeepChord presents Echospace,
Index,
Circle Jerks,
Orchestral Manoeuvres in the Dark,
Röyhkä ja Rättö ja Lehtisalo,
Avey Tare,
Jeru the Damaja,
Godley & Creme,
The Cowsills,
Archie Shepp,
Grandmaster Flash and the Furious Five,
Interpol,
The Young Rascals,
John Lydon,
Danielle Patucci,
It's A Beautiful Day,
Mo-Dettes,
The Electric Prunes,
Idris Muhammad,
Patti Smith,
Rowland S Howard / Lydia Lunch,
EPMD,
Dual Sessions,
Marc Almond,
The Misunderstood,
Wighnomy Brothers & Robag Wruhme,
Connie Case,
Dark Day,
Visionaries,LMNO, T- Love & Iriscience,
Alphaville, Alphaville, Alphaville, Alphaville.
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.