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 Philippines and from Columbus.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Halifax.
I'm losing my edge to the art-school Salvador 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 In Retrospect to the grime kids.
I played it at the Hacienda.
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 Boredoms. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Trumans Water record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Colin Newman,
Pulsallama,
Sam Rivers,
Angry Samoans,
Tomorrow,
Basic Channel,
Nation of Ulysses,
Robert Görl,
The Victims,
The Martian,
Excepter,
Country Teasers,
Organ,
Alison Limerick,
Barclay James Harvest,
the Human League,
PIL,
Gary Puckett & The Union Gap,
Albert Ayler,
Big Daddy Kane,
The Leaves,
Ultimate Spinach,
The Cosmic Jokers,
Metal Thangz,
Pylon,
cv313,
Amon Düül,
Röyhkä ja Rättö ja Lehtisalo,
Boredoms,
The Techniques,
Marcia Griffiths,
Idris Muhammad,
Siglo XX,
Richard Hell and the Voidoids,
The Doors,
Alice Coltrane,
Heavy D & The Boyz,
Gichy Dan,
Dave Gahan,
The Walker Brothers,
La Düsseldorf,
Gang of Four,
Vainqueur,
Hot Snakes,
Bang on a Can All-Stars,
Mad Mike,
New Order,
Kings Of Tomorrow,
Max Romeo,
Second Layer,
The Searchers,
Negative Approach,
Kurtis Blow,
Sound Behaviour,
Babytalk,
Brothers Johnson,
Soulsonic Force,
Oneida,
Deepchord,
Fear,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.