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 Paraguay and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Philadelphia.
I'm losing my edge to the art-school Winnipeg 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Buzzcocks to the grime 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 Funky Four + One. All the underground hits.
All Ultimate Spinach tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum 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?
Black Bananas,
Japan,
Roy Ayers,
Little Man,
Bauhaus,
Al Stewart,
L. Decosne,
Larry & the Blue Notes,
Lonnie Liston Smith,
Public Image Ltd.,
Alton Ellis,
ABC,
Animal Collective,
Be Bop Deluxe,
Letta Mbulu,
Don Cherry,
Skarface,
It's A Beautiful Day,
Juan Atkins,
The Wake,
Gong,
Davy DMX,
Easy Going,
Jesper Dahlbäck,
Hoover,
Quantec,
Freddie Wadling,
Subhumans,
Crispy Ambulance,
Livin' Joy,
Dorothy Ashby,
Desert Stars,
Crooked Eye,
The Durutti Column,
A Certain Ratio,
Electric Light Orchestra,
Deadbeat,
Hasil Adkins,
Andrew Hill,
Sun Ra,
Fat Boys,
PIL,
Aswad,
The Walker Brothers,
Rapeman,
The Real Kids,
Jawbox,
Colin Newman,
Danielle Patucci,
Bill Wells,
Ultra Naté,
Sam Rivers,
Television Personalities,
The Litter,
In Retrospect,
Peter and Kerry,
Anthony Braxton,
Lalo Schifrin,
Louis and Bebe Barron,
Sunsets and Hearts,
Erykah Badu,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.