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 Denmark and from London.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1973.
I'm losing my edge.
To all the kids in Philadelphia and Taipei.
I'm losing my edge to the art-school Lille 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Kurtis Blow to the jazz kids.
I played it at the Crocodile.
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 Zapp. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Peter & Gordon record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Pulsallama,
Ten City,
Bill Wells,
Camouflage,
Morten Harket,
Zero Boys,
Selector Dub Narcotic,
Mars,
Althea and Donna,
The Fall,
The Index,
Spandau Ballet,
La Düsseldorf,
Warren Ellis,
The Alarm Clocks,
Robert Görl,
Piero Umiliani,
The Saints,
Jerry Gold Smith,
Popol Vuh,
Roxy Music,
The Kinks,
It's A Beautiful Day,
Radiohead,
Black Sheep,
Alton Ellis,
Neil Young,
Hasil Adkins,
a-ha,
Panda Bear,
T.S.O.L.,
Bobby Byrd,
Zapp,
Subhumans,
Rakim,
Ituana,
Tomorrow,
The Flesh Eaters,
Bang On A Can,
Grauzone,
Cheater Slicks,
Unrelated Segments,
Kauko Röyhkä ja Narttu,
Icehouse,
Joe Finger,
New Order,
Michelle Simonal,
Moss Icon,
Faust,
Erasure,
Franke,
The Chocolate Watch Band,
Ultramagnetic MC's,
Sonic Youth,
Swans,
The Gun Club,
OOIOO,
The Smoke,
Radiopuhelimet,
Peter and Kerry,
DeepChord presents Echospace,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.