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 Vietnam and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Halifax.
I'm losing my edge to the art-school New York 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 sitar 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 Amazonics to the disco 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 Grandmaster Flash and the Furious Five. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Bush Tetras record on German import.
I heard that you have a white label of every seminal rap 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 an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
The Motions,
Nils Olav,
Television,
Ronan,
Sarah Menescal,
The Doobie Brothers,
Minnie Riperton,
L. Decosne,
Bill Near,
Ultravox,
Suburban Knight,
Howard Jones,
Bang On A Can,
E-Dancer,
Soulsonic Force,
Lee Hazlewood,
The Toasters,
Hoover,
Organ,
The Fuzztones,
The Litter,
The Dave Clark Five,
Lucky Dragons,
Tropical Tobacco,
Scrapy,
Marine Girls,
Fifty Foot Hose,
Infiniti,
Easy Going,
New York Dolls,
Sight & Sound,
Ice-T,
Donald Byrd,
Brick,
Dorothy Ashby,
Altered Images,
Dawn Penn,
The Offenders,
Kool G Rap & DJ Polo,
The Divine Comedy,
Glenn Branca,
Funky Four + One,
8 Eyed Spy,
Drexciya,
Porter Ricks,
Kool Moe Dee,
The Cramps,
K-Klass,
World's Most,
Eric B and Rakim,
Television Personalities,
Spandau Ballet,
The Dirtbombs,
The Wake,
Das Ding,
Whodini,
Piero Umiliani,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.