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 Cambodia and from Portland.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Seoul and Jakarta.
I'm losing my edge to the art-school Tokyo 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 the Association to the jazz 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 The Count Five. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Bad Manners record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum 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 linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Buckinghams,
Bobby Womack,
The Monks,
Lakeside,
Basic Channel,
Robert Hood,
Selector Dub Narcotic,
The Count Five,
Symarip,
Severed Heads,
The Knickerbockers,
These Immortal Souls,
Tropical Tobacco,
Drexciya,
Bush Tetras,
Bluetip,
Unrelated Segments,
Amon Düül II,
Pharaoh Sanders and the Fire Engines,
Iggy Pop,
Supertramp,
The Neon Judgement,
Bobby Hutcherson,
Amon Düül,
Scion,
Loose Ends,
Agent Orange,
Maurizio,
The Toasters,
Hashim,
LL Cool J,
The Electric Prunes,
Rod Modell,
Larry & the Blue Notes,
Mark Hollis,
the Fania All-Stars,
Nils Olav,
Aural Exciters,
Fat Boys,
Darondo,
Magazine,
Gil Scott Heron,
Bauhaus,
Jeru the Damaja,
Chrome,
John Holt,
Wally Richardson,
Sound Behaviour,
Slick Rick,
A Certain Ratio,
Notorious Big And Bone Thugs,
Peter and Kerry,
The Star Department,
Negative Approach,
Sonny Sharrock,
Scan 7,
JFA,
Art Ensemble Of Chicago,
Ornette Coleman,
Second Layer, Second Layer, Second Layer, Second Layer.
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.