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 Glasgow.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1979.
I'm losing my edge.
To all the kids in Milan and Columbus.
I'm losing my edge to the art-school Mexico City 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Motorama to the funk kids.
I played it at the Astoria.
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 Sarah Menescal. All the underground hits.
All Erykah Badu tracks. I heard you have a vinyl of every Little Man 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer 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 Move record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flamin' Groovies,
Excepter,
48th St. Collective,
Soul Sonic Force,
Man Eating Sloth,
Gabor Szabo,
Von Mondo,
Notorious BIG live in Amsterdam,
Kings Of Tomorrow,
Gang Gang Dance,
Soft Machine,
Tres Demented,
Juan Atkins,
T.S.O.L.,
John Coltrane,
R.M.O.,
Slick Rick,
Cabaret Voltaire,
Lizzy Mercier Descloux,
K-Klass,
Bang on a Can All-Stars,
Connie Case,
Marmalade,
Urselle,
Roy Ayers,
Unwound,
Shuggie Otis,
Morten Harket,
Soulsonic Force,
Johnny Osbourne,
Radiohead,
OOIOO,
Ossler,
The Buckinghams,
Lou Christie,
Kool G Rap & DJ Polo,
Captain Beefheart & His Magic Band,
Talk Talk,
Scott Walker,
Mantronix,
Flipper,
Donald Byrd,
New York Dolls,
June Days,
Hashim,
Ornette Coleman,
Lindisfarne,
The Golliwogs,
Kevin Saunderson,
Grauzone,
Barclay James Harvest,
Camberwell Now,
Warsaw,
Notorious Big And Bone Thugs,
These Immortal Souls,
The Young Rascals,
Audionom,
Orchestral Manoeuvres in the Dark,
Suicide,
The Blues Magoos,
Alton Ellis,
This Heat,
Moss Icon,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.