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 Italy and from Cairo.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the organ sounds with much patience.
I was there when Robert Palmer 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 Slave to the punk 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 Ronnie Foster. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Skriet 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Byron Stingily,
The Remains,
Hot Snakes,
Dorothy Ashby,
Don Cherry,
Mantronix,
Visionaries,LMNO, T- Love & Iriscience,
The Fire Engines,
The Cure,
Yazoo,
The Zeros,
Country Teasers,
Minutemen,
Alphaville,
Wasted Youth,
Jerry's Kids,
the Slits,
Ossler,
Alice Coltrane,
Quantec,
Nik Kershaw,
8 Eyed Spy,
The Sound,
The Doobie Brothers,
Skarface,
Jeru the Damaja,
L. Decosne,
Boredoms,
Lindisfarne,
Tres Demented,
Crime,
Andrew Ashong & Theo Parrish,
Frankie Knuckles,
Minor Threat,
Jerry Gold Smith,
John Lydon,
China Crisis,
the Human League,
Vaughan Mason & Crew,
Man Eating Sloth,
Sonny Sharrock,
The Young Rascals,
Michelle Simonal,
Fifty Foot Hose,
The Fugs,
Absolute Body Control,
Oppenheimer Analysis,
Faust,
the Bar-Kays,
Monks,
Eric Copeland,
FM Einheit,
Donny Hathaway,
Ponytail,
Be Bop Deluxe,
Bootsy's Rubber Band,
Harmonia,
Lungfish,
The Dave Clark Five,
Flamin' Groovies,
Alison Limerick,
Amon Düül,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.