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 Costa Rica 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 1967 to 1972.
I'm losing my edge.
To all the kids in Bologna and Toronto.
I'm losing my edge to the art-school New York 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb 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 Judy Mowatt to the disco 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 Rod Modell. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
The Move,
Eyeless In Gaza,
Fort Wilson Riot,
Gichy Dan,
Cameo,
The Searchers,
The Royal Family And The Poor,
Hasil Adkins,
Barbara Tucker,
The Jesus and Mary Chain,
Crispy Ambulance,
Y Pants,
Aaron Thompson,
Moss Icon,
Gil Scott Heron,
Ralphi Rosario,
The Divine Comedy,
Excepter,
Terrestrial Tones,
Ajijia Myrayebe,
Trumans Water,
Gang Gang Dance,
Electric Light Orchestra,
the Germs,
Roger Hodgson,
The Victims,
The Durutti Column,
Mark Hollis,
Accadde A,
The Fall,
Donny Hathaway,
Pharoah Sanders,
The Blues Magoos,
Dual Sessions,
Jacques Brel,
Sad Lovers and Giants,
OOIOO,
Talk Talk,
Zapp,
Supertramp,
The Flesh Eaters,
Eden Ahbez,
Richard Hell and the Voidoids,
L. Decosne,
The Fuzztones,
The Leaves,
Bobby Hutcherson,
Schoolly D,
Bizarre Inc.,
Delon & Dalcan,
The Names,
It's A Beautiful Day,
Heaven 17,
The Mummies,
Sonny Sharrock,
Sun Ra Arkestra,
Davy DMX,
Ponytail,
Albert Ayler,
Country Joe & The Fish,
John Holt, John Holt, John Holt, John Holt.
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.