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 Zambia and from Stockholm.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1972.
I'm losing my edge.
To all the kids in Delhi and Johannesburg.
I'm losing my edge to the art-school Salvador 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 chamberlin 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 Ossler to the jazz 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 The Buckinghams. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Nik Kershaw record on German import.
I heard that you have a white label of every seminal rap 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Dennis Brown,
Sunsets and Hearts,
Leonard Cohen,
Patti Smith,
Sly & The Family Stone,
The Divine Comedy,
Liliput,
The Detroit Cobras,
The Searchers,
Barbara Tucker,
Barclay James Harvest,
Al Stewart,
Scan 7,
DNA,
Hot Snakes,
K-Klass,
Ralphi Rosario,
U.S. Maple,
DeepChord presents Echospace,
Sonny Sharrock,
Eric Dolphy,
Main Source,
Surgeon,
X-Ray Spex,
The Trojans,
KRS-One,
Notorious Big And Bone Thugs,
Whodini,
In Retrospect,
Accadde A,
The Leaves,
Saccharine Trust,
Pete Rock & C.L. Smooth,
Deepchord,
Roger Hodgson,
Public Image Ltd.,
Circle Jerks,
The Index,
The Angels of Light,
The Seeds,
The American Breed,
The Slits,
Tom Boy,
Captain Beefheart & His Magic Band,
The Grass Roots,
Jesper Dahlbäck,
Interpol,
Panda Bear,
Little Man,
Ash Ra Tempel,
Boredoms,
Rowland S Howard / Lydia Lunch,
Echospace,
Connie Case,
Isaac Hayes,
Brand Nubian,
Manfred Mann's Earth Band,
Crooked Eye,
Thinking Fellers Union Local 282,
Pagans,
Robert Hood,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.