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 China and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1976.
I'm losing my edge.
To all the kids in Shanghai and London.
I'm losing my edge to the art-school Copenhagen 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 spring reverb 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 ABC to the grime 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 Parry Music. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Hasil Adkins record on German import.
I heard that you have a white label of every seminal grunge 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 sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Shoche record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wighnomy Brothers & Robag Wruhme,
Fluxion,
Gil Scott Heron,
the Association,
Country Teasers,
Eli Mardock,
Aswad,
Gil Scott-Heron & Brian Jackson,
Japan,
The Blackbyrds,
Little Man,
Blossom Toes,
The Gladiators,
The Music Machine,
The Sisters of Mercy,
The Pop Group,
James White and The Blacks,
Johnny Osbourne,
Flash Fearless,
Frankie Knuckles,
Stiv Bators,
The Fortunes,
The Monks,
Index,
Bobby Sherman,
Juan Atkins,
The Moody Blues,
Darondo,
Swell Maps,
Fela Kuti,
the Fania All-Stars,
Vainqueur,
Peter & Gordon,
Chrome,
Sam Rivers,
Harry Pussy,
Curtis Mayfield,
Lakeside,
Nirvana,
Pantytec,
Peter and Kerry,
Malaria!,
Interpol,
The West Coast Pop Art Experimental Band,
The Count Five,
Rod Modell,
Josef K,
Stockholm Monsters,
Byron Stingily,
Moby Grape,
Sly & The Family Stone,
The Remains,
Grauzone,
Lou Reed & John Cale,
Henry Cow,
The Cowsills,
Don Cherry,
Yellowson,
Bobby Womack,
Rahsaan Roland Kirk,
The Litter, The Litter, The Litter, The Litter.
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.