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 Nicaragua and from Salvador.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Accra and Columbus.
I'm losing my edge to the art-school Manchester 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 1984 at the first Arcadia practice in a loft in London.
I was working on the rhodes 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 Ultra Naté to the electroclash 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 Slave. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Kool Moe Dee 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 '80s cut and another box set from the '90s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Section 25,
Wire,
Yusef Lateef,
Maurizio,
Suburban Knight,
the Swans,
Simply Red,
Funkadelic,
Joe Smooth,
Sun Ra Arkestra,
Max Romeo,
Röyhkä ja Rättö ja Lehtisalo,
the Slits,
Selector Dub Narcotic,
Harry Pussy,
K-Klass,
F. McDonald,
Albert Ayler,
David McCallum,
Royal Trux,
Sexual Harrassment,
U.S. Maple,
MC5,
Al Stewart,
Vaughan Mason & Crew,
Sun City Girls,
Minny Pops,
Malaria!,
Aural Exciters,
Pulsallama,
Oppenheimer Analysis,
Porter Ricks,
Niagra,
Marmalade,
the Sonics,
Larry & the Blue Notes,
The Monks,
The Gap Band,
Black Sheep,
Gang Gang Dance,
UT,
Siouxsie and the Banshees,
Schoolly D,
David Axelrod,
Bad Manners,
Black Flag,
Can,
Jeff Mills,
Dennis Brown,
The Remains,
The Cramps,
Archie Shepp,
Sparks,
Electric Light Orchestra,
The J.B.'s,
Strawberry Alarm Clock,
Accadde A,
Be Bop Deluxe,
Pet Shop Boys,
Yaz,
The Mummies,
Lafayette Afro Rock Band,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.