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 Brunei and from Lille.
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 Bologna and Lyon.
I'm losing my edge to the art-school Jakarta 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 Nation of Ulysses to the rap 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 Sugar Minott. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Cluster record on German import.
I heard that you have a white label of every seminal grunge 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 güiro and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
The Residents,
Kango’s Stein Massive,
Marmalade,
The Jesus and Mary Chain,
Manfred Mann's Earth Band,
Johnny Osbourne,
The Leaves,
Crispian St. Peters,
Sight & Sound,
Excepter,
Erasure,
David Axelrod,
Godley & Creme,
X-Ray Spex,
Metal Thangz,
Aural Exciters,
ABBA,
DeepChord presents Echospace,
Pylon,
Kas Product,
Max Romeo,
Tears for Fears,
the Bar-Kays,
Interpol,
Slave,
Peter and Kerry,
Rites of Spring,
Maurizio,
T.S.O.L.,
Arthur Verocai,
Scion,
Bizarre Inc.,
Hoover,
Vainqueur,
De La Soul & Jungle Brothers,
Rowland S Howard / Lydia Lunch,
The Flesh Eaters,
Young Marble Giants,
the Association,
Jerry's Kids,
Echo & the Bunnymen,
Crime,
Captain Beefheart & His Magic Band,
Marcia Griffiths,
The Toasters,
Bronski Beat,
Jimmy McGriff,
The Five Americans,
Masters at Work,
Delta 5,
Barry Ungar,
Iggy Pop,
Frankie Knuckles,
Henry Cow,
Black Pus,
Kayak,
New Age Steppers,
Minny Pops,
Stiv Bators,
The Knickerbockers,
Josef K, Josef K, Josef K, Josef K.
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.