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 Papua New Guinea and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1973.
I'm losing my edge.
To all the kids in Salvador and Manchester.
I'm losing my edge to the art-school New York 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 Holger Czukay 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 Larry & the Blue Notes to the rap kids.
I played it at the 40 Watt.
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 Colin Newman. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every The Electric Prunes 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
Terrestrial Tones,
Ajijia Myrayebe,
The Men They Couldn't Hang,
Avey Tare,
Wolf Eyes,
Glambeats Corp.,
Yellowson,
Scott Walker + Sunn O))),
Eyeless In Gaza,
Bob Dylan,
Bobby Byrd,
Masters at Work,
Section 25,
Gong,
The Index,
Soul Sonic Force,
World's Most,
Public Enemy,
Jeff Mills,
The Blues Magoos,
Severed Heads,
Josef K,
The Fire Engines,
Heavy D & The Boyz,
Model 500,
The Durutti Column,
The Leaves,
ABBA,
Cymande,
Gil Scott-Heron and Jamie xx,
Sandy B,
Erasure,
Red Lorry Yellow Lorry,
Babytalk,
China Crisis,
John Holt,
Jesper Dahlbäck,
The Chocolate Watch Band,
Minnie Riperton,
Agent Orange,
The Dirtbombs,
Ronnie Foster,
Ornette Coleman,
Arab on Radar,
The Evens,
Dorothy Ashby,
DJ Sneak,
Bill Wells,
The Sonics,
Al Stewart,
the Sonics,
Arthur Verocai,
T. Rex,
Notorious Big And Bone Thugs,
Bootsy's Rubber Band,
The Sisters of Mercy,
Y Pants,
Little Man,
Eden Ahbez,
Blancmange,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.