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 Slovakia and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Milan and Edmonton.
I'm losing my edge to the art-school Hong Kong 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 Holger Czukay 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 Traffic Nightmare to the funk kids.
I played it at the Roxy.
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 Guru Guru. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Doobie Brothers record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
Lyres,
Harpers Bizarre,
Lee Hazlewood,
Eurythmics,
Hashim,
Fluxion,
Gil Scott-Heron & Brian Jackson,
The Velvet Underground,
Colin Newman,
Duran Duran,
X-Ray Spex,
Desert Stars,
Pantaleimon,
Man Parrish,
The Alarm Clocks,
Talk Talk,
The Motions,
Cheater Slicks,
Johnny Osbourne,
Albert Ayler,
The Barracudas,
The Slackers,
Fear,
Gil Scott Heron,
Visage,
Piero Umiliani,
Deepchord,
Jesper Dahlbäck,
Intrusion,
X-102,
Magazine,
Porter Ricks,
The Star Department,
New Age Steppers,
Shuggie Otis,
Jacob Miller,
Big Daddy Kane,
OOIOO,
John Lydon,
Symarip,
Bush Tetras,
Sixth Finger,
John Foxx,
Joyce Sims,
The Sisters of Mercy,
Lou Reed & Metallica,
Radiopuhelimet,
Quantec,
Sad Lovers and Giants,
Bootsy's Rubber Band,
The Knickerbockers,
Peter and Kerry,
MDC,
A Flock of Seagulls,
Negative Approach,
Fatback Band,
Lou Reed & John Cale,
The Slits, The Slits, The Slits, The Slits.
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.