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 Vanuatu and from Lille.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Manchester and Salvador.
I'm losing my edge to the art-school Seoul 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 rhodes 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 Whodini to the rock kids.
I played it at Cafe Wha.
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 F. McDonald. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Jandek record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Man Eating Sloth,
Eric B and Rakim,
Sandy B,
The Red Krayola,
Colin Newman,
Excepter,
Parry Music,
Rufus Thomas,
The Buckinghams,
Gil Scott-Heron and Jamie xx,
The Detroit Cobras,
Delon & Dalcan,
Johnny Osbourne,
The Alarm Clocks,
Urselle,
Ajijia Myrayebe,
Amon Düül II,
Bootsy Collins,
DeepChord presents Echospace,
Cybotron,
The Slits,
Marine Girls,
Guru Guru,
ABBA,
Junior Murvin,
Lou Reed & John Cale,
CMW,
The Sisters of Mercy,
Funkadelic,
The Busters,
the Slits,
Half Japanese,
James Chance & The Contortions,
Suburban Knight,
Livin' Joy,
Tropical Tobacco,
E-Dancer,
Joyce Sims,
Soft Machine,
Shoche,
Public Image Ltd.,
Jeru the Damaja,
Ultra Naté,
The Index,
The Stooges,
The Vogues,
Sexual Harrassment,
PIL,
Ten City,
The Leaves,
The Beau Brummels,
Schoolly D,
The Misunderstood,
Procol Harum,
Visage,
Vaughan Mason & Crew,
Alison Limerick,
Robert Wyatt,
Susan Cadogan,
Lou Christie,
Wighnomy Brothers & Robag Wruhme,
The Zeros,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.