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 Denmark and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1975.
I'm losing my edge.
To all the kids in New York and Delhi.
I'm losing my edge to the art-school London 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Flash Fearless to the rock kids.
I played it at the Crocodile.
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 Frankie Knuckles. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Man Parrish 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 '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Leaves record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
Chris & Cosey,
Marshall Jefferson,
Buzzcocks,
Liaisons Dangereuses,
The Martian,
New Order,
The Last Poets,
Sly & The Family Stone,
Camron Feat. Jay Z And Juelz,
The Alarm Clocks,
The Offenders,
Louis and Bebe Barron,
Letta Mbulu,
Ultra Naté,
Nas,
Fat Boys,
The J.B.'s,
F. McDonald,
UT,
Isaac Hayes,
Gabor Szabo,
Nation of Ulysses,
Jeff Mills,
Inner City,
Alphaville,
The Slackers,
Stockholm Monsters,
Television,
The Mummies,
Kool Moe Dee,
X-101,
Aloha Tigers,
Sexual Harrassment,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Trojans,
Sam Rivers,
Gang of Four,
Godley & Creme,
Bizarre Inc.,
EPMD,
Girls At Our Best!,
In Retrospect,
The Leaves,
Fifty Foot Hose,
Lalann,
Sight & Sound,
Prince Buster,
Drive Like Jehu,
Angry Samoans,
Interpol,
The Residents,
Deadbeat,
Gian Franco Pienzio,
Babytalk,
Spoonie Gee,
Metal Thangz,
Steve Hackett,
Blossom Toes,
Severed Heads,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.