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 Comoros and from Woodstock.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Portland.
I'm losing my edge to the art-school Manchester 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 rhodes 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 Popol Vuh to the electroclash kids.
I played it at Trash.
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 Connie Case. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Manfred Mann's Earth Band record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your theremin and bought a 808.
I hear that you and your band have sold your 808 and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
Wire,
New York Dolls,
Pagans,
Mark Hollis,
Thee Headcoats,
Sly & The Family Stone,
Porter Ricks,
The Sound,
The Pretty Things,
Rhythim Is Rhythim,
Aloha Tigers,
The Count Five,
Subhumans,
Lucky Dragons,
London Community Gospel Choir,
Dave Gahan,
Mission of Burma,
Crime,
New Age Steppers,
Beasts of Bourbon,
Peter and Kerry,
Eli Mardock,
Popol Vuh,
Selector Dub Narcotic,
Lou Reed & John Cale,
Gian Franco Pienzio,
Scientists,
Justin Hinds & The Dominoes,
De La Soul & Jungle Brothers,
The Neon Judgement,
Half Japanese,
Nas,
10cc,
Ossler,
Crispy Ambulance,
Notorious Big And Bone Thugs,
Joyce Sims,
Mad Mike,
B.T. Express,
Jeff Lynne,
This Heat,
Fear,
Kenny Larkin,
Gil Scott-Heron and Jamie xx,
Sam Rivers,
Piero Umiliani,
The Gories,
Eden Ahbez,
Pussy Galore,
Fort Wilson Riot,
Avey Tare & Kría Brekkan,
Can,
Eric B and Rakim,
Echospace,
Donald Byrd,
Andrew Hill,
Intrusion,
Second Layer,
Letta Mbulu,
World's Most,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.