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 Somalia and from Delhi.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Lille and Paris.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Al Stewart to the disco kids.
I played it at CBGB's.
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 the Soft Cell. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Panda Bear 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 chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Soft Machine,
The American Breed,
Excepter,
Ossler,
Bootsy Collins,
Whodini,
Oblivians,
Funkadelic,
It's A Beautiful Day,
The Jesus and Mary Chain,
Los Fastidios,
Howard Jones,
Junior Murvin,
Letta Mbulu,
Maurizio,
Clear Light,
The Slits,
Jawbox,
Suicide,
Skarface,
The Monochrome Set,
Radiopuhelimet,
Japan,
The Grass Roots,
Marine Girls,
Mary Jane Girls,
Cybotron,
Television Personalities,
Outsiders,
Freddie Wadling,
Can,
Terry Callier,
The Dead C,
Radiohead,
Royal Trux,
Joensuu 1685,
Jacob Miller,
T.S.O.L.,
Von Mondo,
The Sisters of Mercy,
Rufus Thomas,
Josef K,
Ohio Players,
The Tremeloes,
The Music Machine,
DJ Style,
E-Dancer,
Derrick Morgan,
The Happenings,
Tubeway Army,
Malaria!,
Model 500,
New York Dolls,
Pantaleimon,
Archie Shepp,
Toni Rubio,
John Lydon,
The Monks,
Black Pus,
Rowland S Howard / Lydia Lunch,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.