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 St Lucia and from Edmonton.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Madrid.
I'm losing my edge to the art-school Madrid 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the rhodes 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 Aswad to the grime kids.
I played it at the Spitz.
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 Rekid. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every Excepter 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 '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Blackbyrds record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
Ohio Players,
Siouxsie and the Banshees,
Theoretical Girls,
Bootsy Collins,
The J.B.'s,
Idris Muhammad,
Matthew Halsall,
R.M.O.,
Television,
Nas,
Clear Light,
Aloha Tigers,
The Gories,
Saccharine Trust,
Average White Band,
Gang Green,
John Lydon,
DNA,
Sonic Youth,
Shoche,
the Bar-Kays,
Arthur Verocai,
Maurizio,
Ornette Coleman,
F. McDonald,
Faraquet,
The Grass Roots,
Eyeless In Gaza,
The United States of America,
The Fall,
Barry Ungar,
Juan Atkins,
Drive Like Jehu,
UT,
Gang Starr,
The Cowsills,
Minny Pops,
Jimmy McGriff,
Deepchord,
Gian Franco Pienzio,
Pharaoh Sanders and the Fire Engines,
ABC,
The Slackers,
In Retrospect,
Newcleus,
Magma,
Zero Boys,
Second Layer,
Lalann,
The Fortunes,
Slick Rick,
Dave Gahan,
The Durutti Column,
Colin Newman,
Circle Jerks,
Peter and Kerry,
8 Eyed Spy,
The Gap Band,
Camberwell Now,
The Happenings,
The Mummies, The Mummies, The Mummies, The Mummies.
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.