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 Seychelles and from Lagos.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Bologna and Johannesburg.
I'm losing my edge to the art-school Lagos 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 sitar 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 ABBA to the techno kids.
I played it at the Hacienda.
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 Brass Construction. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
Ohio Players,
Andrew Ashong & Theo Parrish,
The Kinks,
L. Decosne,
X-Ray Spex,
Grandmaster Flash and the Furious Five,
Warsaw,
Chris Corsano,
The Buckinghams,
Jeru the Damaja,
Negative Approach,
The Offenders,
Saccharine Trust,
Pharaoh Sanders and the Fire Engines,
the Sonics,
Thompson Twins,
Joey Negro,
Kool Moe Dee,
Lakeside,
Freddie Wadling,
Scott Walker,
Oblivians,
48th St. Collective,
Das Ding,
John Lydon,
Reuben Wilson,
The Human League,
Curtis Mayfield,
Dual Sessions,
The Fall,
Pere Ubu,
Bobby Sherman,
Aaron Thompson,
Toni Rubio,
Scratch Acid,
Eric B and Rakim,
Jeff Mills,
The Detroit Cobras,
Selector Dub Narcotic,
Barclay James Harvest,
Country Teasers,
Archie Shepp,
Henry Cow,
The Velvet Underground,
The Mojo Men,
The J.B.'s,
Clear Light,
Reagan Youth,
Orchestral Manoeuvres in the Dark,
Albert Ayler,
The Barracudas,
Stockholm Monsters,
Harpers Bizarre,
The Victims,
Black Moon,
Lower 48,
The Slits,
Lungfish,
JFA,
Minor Threat,
Röyhkä ja Rättö ja Lehtisalo,
Barrington Levy,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.