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 Mali and from Manchester.
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 1968 to 1972.
I'm losing my edge.
To all the kids in London and Copenhagen.
I'm losing my edge to the art-school Sao Paulo 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the synthesizer 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 The Red Krayola to the dance kids.
I played it at Cafe Wha.
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 Bobby Byrd. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Barracudas record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Arthur Verocai,
Lou Christie,
KRS-One,
The Busters,
The Doors,
Sonny Sharrock,
Con Funk Shun,
Bobby Hutcherson,
Grandmaster Flash,
David Axelrod,
Drexciya,
Bootsy's Rubber Band,
Grandmaster Flash and the Furious Five,
Neil Young,
Jesper Dahlbäck,
Accadde A,
Dead Boys,
Roxette,
Symarip,
Livin' Joy,
Altered Images,
Slave,
Sandy B,
Jawbox,
Supertramp,
Oppenheimer Analysis,
Traffic Nightmare,
Spandau Ballet,
Bizarre Inc.,
Motorama,
Fugazi,
Fear,
Bobby Sherman,
Average White Band,
Franke,
ABC,
Amazonics,
The Moleskins,
The Peanut Butter Conspiracy,
The Pop Group,
Rhythim Is Rhythim,
Roy Ayers,
Joe Smooth,
New York Dolls,
Q and Not U,
Pet Shop Boys,
John Foxx,
China Crisis,
PIL,
Bang On A Can,
The Techniques,
Grauzone,
Yazoo,
Faraquet,
Basic Channel,
Niagra,
Terror Squad Feat. Camron,
Guru Guru,
Johnny Clarke,
Andrew Hill,
The Raincoats,
Wings,
Bush Tetras,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.