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 Ivory Coast and from Houston.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Tehran and Bologna.
I'm losing my edge to the art-school Stockholm 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba 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 Matthew Bourne to the dance 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 Pussy Galore. All the underground hits.
All Hot Snakes tracks. I heard you have a vinyl of every LL Cool J record on German import.
I heard that you have a white label of every seminal rap 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 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Gap Band record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Newcleus,
Piero Umiliani,
UT,
Ponytail,
Quantec,
Liaisons Dangereuses,
Ken Boothe,
Ralphi Rosario,
The Cowsills,
Leonard Cohen,
Section 25,
Sly & The Family Stone,
T. Rex,
The Real Kids,
Pet Shop Boys,
The Fuzztones,
The Zeros,
the Normal,
The American Breed,
Niagra,
The Beau Brummels,
Eric Copeland,
The Angels of Light,
Judy Mowatt,
Livin' Joy,
DJ Sneak,
Tears for Fears,
Buzzcocks,
Rowland S Howard / Lydia Lunch,
Sister Nancy,
Sparks,
Roy Ayers,
Swell Maps,
X-101,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
John Foxx,
Funkadelic,
Kerrie Biddell,
Warren Ellis,
Sound Behaviour,
8 Eyed Spy,
Roger Hodgson,
Siouxsie and the Banshees,
John Holt,
Depeche Mode,
Monks,
Andrew Ashong & Theo Parrish,
Tomorrow,
The Modern Lovers,
Lakeside,
Grandmaster Flash,
Cal Tjader,
The Invisible,
Yusef Lateef,
Rakim,
Los Fastidios,
Oppenheimer Analysis,
The Gap Band,
D'Angelo,
Dorothy Ashby,
Organ,
Jerry Gold Smith,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.