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 Djibouti and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1976.
I'm losing my edge.
To all the kids in Glasgow and Beijing.
I'm losing my edge to the art-school Shanghai 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 linndrum sounds with much patience.
I was there when David Bowie 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 Easy Going to the grime 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 Absolute Body Control. All the underground hits.
All Lou Reed & Metallica tracks. I heard you have a vinyl of every Lou Christie 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and an arpeggiator 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 chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Jerry's Kids,
Sällskapet,
the Human League,
The Star Department,
T.S.O.L.,
Howard Jones,
Heaven 17,
Monolake,
Gang Green,
Liaisons Dangereuses,
Quantec,
Scion,
Rakim,
Whodini,
Make Up,
The Stooges,
Peter & Gordon,
Fifty Foot Hose,
DeepChord presents Echospace,
Bobby Sherman,
Fela Kuti,
Television Personalities,
Rosa Yemen,
Echo & the Bunnymen,
Cal Tjader,
The Walker Brothers,
Avey Tare,
Röyhkä ja Rättö ja Lehtisalo,
Monks,
The Searchers,
Country Teasers,
Kool Moe Dee,
Sex Pistols,
The Pretty Things,
Mark Hollis,
The Count Five,
Tropical Tobacco,
Charles Mingus,
Selector Dub Narcotic,
T. Rex,
Public Enemy,
Second Layer,
Slick Rick,
Joey Negro,
Ice-T,
The Black Dice,
Joe Smooth,
Marc Romboy vs. Booka Shade,
The Slits,
Pulsallama,
The Index,
Talk Talk,
The J.B.'s,
Notorious BIG live in Amsterdam,
Richard Hell and the Voidoids,
Newcleus,
Bronski Beat,
DJ Sneak,
Little Man,
Deakin, Deakin, Deakin, Deakin.
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.