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 Albania and from Portland.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Columbus and Houston.
I'm losing my edge to the art-school Mexico City 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 mellotron 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 Masters at Work to the dance kids.
I played it at Trash.
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 Ken Boothe. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Make Up record on German import.
I heard that you have a white label of every seminal funk 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 rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your mellotron and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Camron Feat. Jay Z And Juelz,
Spandau Ballet,
Newcleus,
Aaron Thompson,
Eric B and Rakim,
Zapp,
D'Angelo,
kango's stein massive,
Loose Ends,
Duran Duran,
The Victims,
Frankie Knuckles,
Kool Moe Dee,
Derrick Morgan,
the Association,
The Star Department,
Blossom Toes,
Lightning Bolt,
Roy Ayers Ubiquity,
Fat Boys,
Dorothy Ashby,
Blake Baxter,
Public Image Ltd.,
Curtis Mayfield,
Henry Cow,
MC5,
Pharoah Sanders,
ABC,
Brass Construction,
Art Ensemble Of Chicago,
The Dirtbombs,
Freddie Wadling,
Swans,
Jeru the Damaja,
Underground Resistance,
Saccharine Trust,
Röyhkä ja Rättö ja Lehtisalo,
The Electric Prunes,
Dark Day,
The Buckinghams,
Fifty Foot Hose,
The Trojans,
Bush Tetras,
Panda Bear,
Interpol,
Sun City Girls,
Yazoo,
Throbbing Gristle,
Scratch Acid,
Public Enemy,
Cluster,
The Kinks,
Oppenheimer Analysis,
Q and Not U,
Pole,
The Names,
Pussy Galore,
Delon & Dalcan,
Flash Fearless,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.