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 Germany and from New York.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Seoul and Shanghai.
I'm losing my edge to the art-school Johannesburg 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Flamin' Groovies to the dance kids.
I played it at the 40 Watt.
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 David Bowie. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sällskapet record.
I hear that you and your band have sold your linndrum and bought a 808.
I hear that you and your band have sold your 808 and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
R.M.O.,
James White and The Blacks,
The Gap Band,
Kas Product,
Grey Daturas,
Can,
Pantaleimon,
Soft Machine,
Nirvana,
Graham Central Station,
Model 500,
The Beau Brummels,
Sonny Sharrock,
Hasil Adkins,
48th St. Collective,
Section 25,
Pole,
The Alarm Clocks,
Johnny Clarke,
Eric Dolphy,
Marcia Griffiths,
Circle Jerks,
Rites of Spring,
Mark Hollis,
Letta Mbulu,
Sly & The Family Stone,
Boredoms,
Pylon,
Ituana,
Jeru the Damaja,
The Evens,
Khruangbin,
Mr. Review,
Mandrill,
Tim Buckley,
Chris Corsano,
Big Daddy Kane,
Eve St. Jones,
Boz Scaggs,
Ken Boothe,
Todd Terry,
Fat Boys,
Terrestrial Tones,
Gang Starr,
Godley & Creme,
Roxette,
Radio Birdman,
Vaughan Mason & Crew,
Y Pants,
Maurizio,
Notorious Big And Bone Thugs,
Vainqueur,
Gastr Del Sol,
Donald Byrd,
Saccharine Trust,
This Heat,
Symarip,
Prince Buster,
Rod Modell,
ABBA, ABBA, ABBA, ABBA.
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.