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 Kazakhstan and from Madrid.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Bremen and Milan.
I'm losing my edge to the art-school Bologna 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 mellotron 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 Marshall Jefferson to the rap kids.
I played it at the Roxy.
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 Organ. All the underground hits.
All Captain Beefheart & His Magic Band tracks. I heard you have a vinyl of every Jacob Miller record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Nik Kershaw,
Röyhkä ja Rättö ja Lehtisalo,
Marshall Jefferson,
Hot Snakes,
Fifty Foot Hose,
Deakin,
Gian Franco Pienzio,
The Moleskins,
The Star Department,
China Crisis,
Echo & the Bunnymen,
The Fugs,
The J.B.'s,
Quantec,
Ronan,
Con Funk Shun,
Bad Manners,
Los Fastidios,
Kool G Rap & DJ Polo,
Boz Scaggs,
Marvin Gaye,
Sunsets and Hearts,
Piero Umiliani,
Magazine,
Banda Bassotti,
FM Einheit,
Teenage Jesus and the Jerks,
The Monks,
Visionaries,LMNO, T- Love & Iriscience,
the Normal,
The Shadows of Knight,
Matthew Bourne,
Groovy Waters,
Sex Pistols,
Nick Fraelich,
Howard Jones,
Wasted Youth,
Rahsaan Roland Kirk,
Bluetip,
Junior Murvin,
Joyce Sims,
Bronski Beat,
Interpol,
Goldenarms,
Arcadia,
Country Teasers,
Warren Ellis,
Man Eating Sloth,
Suicide,
Thinking Fellers Union Local 282,
Soft Cell,
Depeche Mode,
Deepchord,
Trumans Water,
Minutemen,
The Leaves,
Sight & Sound,
The Blackbyrds,
Scion,
Pole,
Drexciya,
Sad Lovers and Giants,
the Association, the Association, the Association, the Association.
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.