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 Rwanda and from Lyon.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Lyon and Seoul.
I'm losing my edge to the art-school Columbus 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 Wire practice in a loft in Watford.
I was working on the rhodes sounds with much patience.
I was there when Michael McDonald 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 Johnny Osbourne to the grime 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 Bauhaus. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
Young Marble Giants,
Colin Newman,
Matthew Bourne,
X-Ray Spex,
The Selecter,
Organ,
Pantytec,
Mo-Dettes,
The Fall,
Nik Kershaw,
Rapeman,
Scrapy,
Pussy Galore,
Gil Scott-Heron & Brian Jackson,
Dorothy Ashby,
Orchestral Manoeuvres in the Dark,
Wire,
The Modern Lovers,
Thinking Fellers Union Local 282,
Kurtis Blow,
Roxy Music,
Bluetip,
Wasted Youth,
Radiopuhelimet,
Lower 48,
The American Breed,
Electric Light Orchestra,
The Searchers,
the Association,
Liliput,
Sight & Sound,
Anthony Braxton,
Zero Boys,
Roy Ayers,
MC5,
Brand Nubian,
David Axelrod,
Cybotron,
Minnie Riperton,
Warsaw,
Fluxion,
Crime,
Ohio Players,
Theoretical Girls,
This Heat,
Half Japanese,
Jeff Lynne,
Agitation Free,
Sun City Girls,
ABBA,
Lucky Dragons,
Art Ensemble Of Chicago,
Anakelly,
Pere Ubu,
UT,
Jimmy McGriff,
a-ha,
Eve St. Jones,
Terror Squad Feat. Camron,
Dennis Brown,
H. Thieme,
Ornette Coleman,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.