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 Ethiopia and from New York.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
I'm losing my edge to the art-school Halifax 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 808 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 Matthew Halsall to the techno kids.
I played it at the Hacienda.
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 Pet Shop Boys. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every Oppenheimer Analysis 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 an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
The Smiths,
Lou Christie,
John Lydon,
Super Lover Cee & Casanova Rud,
Fugazi,
Kayak,
The Grass Roots,
Man Eating Sloth,
The Index,
Television,
The Human League,
The Pop Group,
Donald Byrd,
Matthew Bourne,
Crime,
Bauhaus,
Camberwell Now,
Magma,
London Community Gospel Choir,
Joy Division,
Malaria!,
Pharaoh Sanders and the Fire Engines,
Niagra,
the Human League,
Con Funk Shun,
Judy Mowatt,
Scott Walker + Sunn O))),
Aloha Tigers,
Slave,
Fela Kuti,
Robert Görl,
Ultramagnetic MC's,
Marmalade,
Gichy Dan,
The Fire Engines,
Joe Finger,
Thinking Fellers Union Local 282,
Sun City Girls,
Pole,
Flipper,
Ajijia Myrayebe,
Gil Scott-Heron & Brian Jackson,
Can,
Fifty Foot Hose,
Little Man,
Clear Light,
Pulsallama,
Reuben Wilson,
The Neon Judgement,
Rhythim Is Rhythim,
Black Flag,
Aural Exciters,
Buzzcocks,
The Buckinghams,
Rites of Spring,
Pantaleimon,
Colin Newman,
Motorama,
U.S. Maple,
Depeche Mode,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.