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 Marshall Islands and from Lille.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Milan and Columbus.
I'm losing my edge to the art-school Manchester 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Dark Day to the rap 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 Bronski Beat. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every The Fortunes record on German import.
I heard that you have a white label of every seminal punk 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 a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Lebanon Hanover,
Wire,
David McCallum,
Crispian St. Peters,
Shuggie Otis,
Fela Kuti,
Chris & Cosey,
Pole,
Zero Boys,
Big Daddy Kane,
Freddie Wadling,
Lou Reed & Metallica,
the Sonics,
Masters at Work,
Flipper,
Soul II Soul,
Sly & The Family Stone,
The United States of America,
Warsaw,
Chrome,
Bootsy Collins,
The Alarm Clocks,
Pantaleimon,
Nas,
Gang of Four,
Mary Jane Girls,
Subhumans,
Index,
Marc Almond,
The Music Machine,
The Names,
James White and The Blacks,
Susan Cadogan,
Liaisons Dangereuses,
Major Organ And The Adding Machine,
Fat Boys,
Dave Gahan,
Wally Richardson,
Johnny Osbourne,
The J.B.'s,
Supertramp,
Echo & the Bunnymen,
The Seeds,
Quantec,
Joey Negro,
Dorothy Ashby,
Fluxion,
Faust,
Skriet,
Circle Jerks,
Eddi Front,
Boredoms,
Thompson Twins,
Kool G Rap & DJ Polo,
Richard Hell and the Voidoids,
Eyeless In Gaza,
Peter & Gordon,
Mad Mike,
Ponytail,
Roy Ayers,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.