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 Angola and from Taipei.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Columbus and Jakarta.
I'm losing my edge to the art-school Philadelphia 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 spring reverb 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 Stiv Bators to the rock 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 Peter and Kerry. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
Altered Images,
Moss Icon,
the Soft Cell,
Notorious BIG live in Amsterdam,
Erykah Badu,
Porter Ricks,
The Grass Roots,
Blossom Toes,
Fat Boys,
World's Most,
Prince Buster,
Slick Rick,
Major Organ And The Adding Machine,
Flash Fearless,
Ituana,
Joe Smooth,
Shuggie Otis,
The Mummies,
Isaac Hayes,
A Flock of Seagulls,
Big Daddy Kane,
Lindisfarne,
Black Sheep,
Aloha Tigers,
Eric Dolphy,
Groovy Waters,
Clear Light,
The Trojans,
Yaz,
The Shadows of Knight,
LL Cool J,
The Leaves,
Aaron Thompson,
Sound Behaviour,
Davy DMX,
The Last Poets,
John Coltrane,
Malaria!,
Unwound,
The Victims,
The Evens,
Henry Cow,
Barclay James Harvest,
Steve Hackett,
Ronan,
New Order,
Sunsets and Hearts,
Index,
Qualms,
Derrick May,
The Litter,
Flipper,
The Alarm Clocks,
Quando Quango,
Lee Hazlewood,
DNA,
Kango’s Stein Massive,
Oneida,
Jeff Mills,
The Invisible,
Scan 7,
Alton Ellis,
the Normal, the Normal, the Normal, the Normal.
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.