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 Congo and from Sao Paulo.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1960 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Cairo.
I'm losing my edge to the art-school Winnipeg 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 oboe sounds with much patience.
I was there when David Bowie 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 Freddie Wadling 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 Funkadelic. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Lower 48 record on German import.
I heard that you have a white label of every seminal rock 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 an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
James Chance & The Contortions,
The Mummies,
Crash Course in Science,
Super Lover Cee & Casanova Rud,
Rotary Connection,
Fluxion,
Second Layer,
Lou Reed & John Cale,
Wasted Youth,
Stetsasonic,
the Association,
Tubeway Army,
Sun City Girls,
David Axelrod,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bang on a Can All-Stars,
Dr. Dre and Snoop Doggy Dog,
The Fugs,
Barrington Levy,
The Monks,
The Leaves,
The Litter,
the Human League,
Gang Gang Dance,
Blake Baxter,
Aswad,
The Blackbyrds,
Marmalade,
Wings,
the Normal,
Robert Görl,
Unrelated Segments,
Yellowson,
The Buckinghams,
Smog,
Todd Terry,
Man Parrish,
The Saints,
Justin Hinds & The Dominoes,
The Sound,
Brass Construction,
Althea and Donna,
Ajijia Myrayebe,
Maleditus Sound,
Peter Gordon & Love of Life Orchestra,
Bobby Sherman,
Heaven 17,
DJ Sneak,
Sunsets and Hearts,
Bill Near,
Deadbeat,
Joyce Sims,
Rites of Spring,
Arthur Verocai,
cv313,
Stereo Dub,
The Associates,
Gerry Rafferty,
Blancmange,
Spoonie Gee,
Magma,
Magazine,
John Lydon, John Lydon, John Lydon, John Lydon.
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.