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 Malawi and from Columbus.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1963 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Halifax.
I'm losing my edge to the art-school London 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 Michael McDonald 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 Boz Scaggs to the crunk 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 Black Pus. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every The Pop Group record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
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 E-Dancer record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
Tomorrow,
The Fortunes,
Aswad,
Cybotron,
Mark Hollis,
The Mojo Men,
Au Pairs,
Black Sheep,
X-102,
Roxette,
Liaisons Dangereuses,
Masters at Work,
Joensuu 1685,
the Soft Cell,
Boz Scaggs,
Public Image Ltd.,
Chrome,
Make Up,
Dorothy Ashby,
Jesper Dahlbäck,
Nirvana,
Cecil Taylor,
Letta Mbulu,
Skaos,
Scratch Acid,
Anakelly,
The Cowsills,
Electric Light Orchestra,
Siglo XX,
Lou Reed,
MC5,
Pagans,
Nik Kershaw,
The Sound,
These Immortal Souls,
Lalo Schifrin,
Carl Craig,
Minutemen,
Harmonia,
Man Eating Sloth,
The Fire Engines,
The Names,
Pharaoh Sanders and the Fire Engines,
New Order,
Nick Fraelich,
Oppenheimer Analysis,
Unwound,
The Skatalites,
Bobby Hutcherson,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kayak,
Colin Newman,
Johnny Osbourne,
The Red Krayola,
The Human League,
Andrew Ashong & Theo Parrish,
Aural Exciters,
Suicide,
Frankie Knuckles,
Glenn Branca,
Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band.
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.