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 Manchester.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Jakarta and London.
I'm losing my edge to the art-school Copenhagen 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 clarinet sounds with much patience.
I was there when David Bowie 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 Interpol to the electroclash kids.
I played it at Trash.
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 Swell Maps. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
The Human League,
Intrusion,
The Offenders,
Ludus,
Roy Ayers,
Lower 48,
The Names,
Angels of Light & Akron/Family,
Barrington Levy,
The Skatalites,
Marshall Jefferson,
Wire,
Graham Central Station,
Crispy Ambulance,
Wolf Eyes,
Shuggie Otis,
Judy Mowatt,
Selector Dub Narcotic,
Essential Logic,
These Immortal Souls,
Liaisons Dangereuses,
Nick Fraelich,
Angry Samoans,
Spandau Ballet,
Ultra Naté,
Maleditus Sound,
Chrome,
The Modern Lovers,
The Doobie Brothers,
Moby Grape,
Max Romeo,
Piero Umiliani,
The Searchers,
Lalann,
Moss Icon,
Alton Ellis,
the Sonics,
Gang Gang Dance,
Arcadia,
Johnny Clarke,
The Index,
Charles Mingus,
Quadrant,
David McCallum,
Iggy Pop,
Juan Atkins,
David Axelrod,
Black Moon,
Notorious BIG live in Amsterdam,
Visage,
The American Breed,
Pere Ubu,
Marine Girls,
Lou Reed & Metallica,
Alison Limerick,
Parry Music,
Sexual Harrassment,
Aural Exciters,
The Gladiators,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.