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 China and from Mexico City.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Cairo and Columbus.
I'm losing my edge to the art-school London 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 Michael McDonald 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 Bootsy Collins to the electroclash 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 The Remains. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every Ituana 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 '80s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Roy Ayers Ubiquity,
Eurythmics,
Angry Samoans,
Urselle,
Gary Puckett & The Union Gap,
a-ha,
Vainqueur,
Liaisons Dangereuses,
Kings Of Tomorrow,
Interpol,
Sound Behaviour,
Byron Stingily,
The Invisible,
Excepter,
Joyce Sims,
The Fugs,
James White and The Blacks,
Selector Dub Narcotic,
Television,
Inner City,
Amon Düül II,
The Dead C,
Index,
Glenn Branca,
The Raincoats,
Hardrive,
John Foxx,
A Certain Ratio,
The Zeros,
Bobby Sherman,
Kauko Röyhkä ja Narttu,
Piero Umiliani,
Cluster,
Reuben Wilson,
Los Fastidios,
Yaz,
Supertramp,
Sparks,
Agent Orange,
Unrelated Segments,
Neu!,
The Men They Couldn't Hang,
The Cosmic Jokers,
Moss Icon,
the Association,
Notorious BIG live in Amsterdam,
Crispy Ambulance,
Sonny Sharrock,
Lower 48,
Kurtis Blow,
MDC,
Avey Tare's Slasher Flicks,
Don Cherry,
Jawbox,
A Flock of Seagulls,
Ice-T,
Heavy D & The Boyz,
Dawn Penn,
Radiohead,
Scott Walker + Sunn O))),
Sunsets and Hearts,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.