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 New Zealand and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1978.
I'm losing my edge.
To all the kids in Taipei and Delhi.
I'm losing my edge to the art-school Jakarta 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Saints to the grime 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 Motorama. All the underground hits.
All Pole tracks. I heard you have a vinyl of every Suburban Knight record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Agent Orange record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Joyce Sims,
H. Thieme,
The Five Americans,
Skriet,
June Days,
Nas,
Jawbox,
Spoonie Gee,
Au Pairs,
David Axelrod,
Avey Tare's Slasher Flicks,
The Zeros,
Fat Boys,
Heaven 17,
The West Coast Pop Art Experimental Band,
Crooked Eye,
James Chance & The Contortions,
Hardrive,
Panda Bear,
Sonic Youth,
Gil Scott-Heron and Jamie xx,
Bobbi Humphrey,
Icehouse,
EPMD,
Magazine,
Moby Grape,
The Cramps,
Jacques Brel,
Monolake,
Soft Cell,
Glenn Branca,
Ultramagnetic MC's,
Soft Machine,
A Certain Ratio,
The Music Machine,
The Cure,
Angry Samoans,
Rufus Thomas,
Alphaville,
The Barracudas,
Orchestral Manoeuvres in the Dark,
Crime,
The Flesh Eaters,
The Selecter,
Suicide,
The Grass Roots,
Das Ding,
Jesper Dahlback,
Michelle Simonal,
Procol Harum,
Pagans,
Josef K,
The Moleskins,
10cc,
Bluetip,
Lee Hazlewood,
Rowland S Howard / Lydia Lunch,
Suburban Knight,
Stetsasonic,
Ultimate Spinach,
Angels of Light & Akron/Family,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.