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 Honduras and from Milan.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Toronto and Lagos.
I'm losing my edge to the art-school Cairo 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 1976 at the first Wire practice in a loft in Watford.
I was working on the güiro 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 The Moleskins to the funk kids.
I played it at the Crocodile.
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 Swans. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Bush Tetras 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 marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
The Saints,
Althea and Donna,
10cc,
Major Organ And The Adding Machine,
Kurtis Blow,
Symarip,
Cymande,
Tom Boy,
Traffic Nightmare,
Godley & Creme,
Bill Near,
Boz Scaggs,
Marshall Jefferson,
Brand Nubian,
Rufus Thomas,
The Star Department,
Kool G Rap & DJ Polo,
Vaughan Mason & Crew,
Tommy Roe,
Model 500,
Boogie Down Productions,
Orchestral Manoeuvres in the Dark,
Sixth Finger,
Alice Coltrane,
Oblivians,
The Flesh Eaters,
Monolake,
The American Breed,
Brothers Johnson,
Michelle Simonal,
John Foxx,
The United States of America,
The Black Dice,
Joey Negro,
Frankie Knuckles,
Kango’s Stein Massive,
Fad Gadget,
The Pretty Things,
Scott Walker,
Eric Copeland,
Pete Rock & C.L. Smooth,
T. Rex,
Gregory Isaacs,
Anakelly,
Josef K,
Bobby Sherman,
Sly & The Family Stone,
The Martian,
Infiniti,
Groovy Waters,
Terrestrial Tones,
Quadrant,
The Gun Club,
Byron Stingily,
The Sisters of Mercy,
Röyhkä ja Rättö ja Lehtisalo,
Lee Hazlewood,
Carl Craig,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.