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 Greece and from Madrid.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 Madrid and Hong Kong.
I'm losing my edge to the art-school Tehran 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Richard Hell and the Voidoids to the grime kids.
I played it at the Astoria.
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 Maurizio. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every The Alarm Clocks 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Monks,
the Bar-Kays,
U.S. Maple,
Tubeway Army,
Pharaoh Sanders and the Fire Engines,
Lou Reed,
Theoretical Girls,
Maleditus Sound,
Lightning Bolt,
PIL,
Joe Smooth,
Bad Manners,
The Skatalites,
Bang On A Can,
Juan Atkins,
Sparks,
Alison Limerick,
Sister Nancy,
Susan Cadogan,
Magazine,
Surgeon,
Vladislav Delay,
MDC,
Clear Light,
Dawn Penn,
The Moleskins,
The Remains,
A Flock of Seagulls,
Pantaleimon,
The Dirtbombs,
Kevin Saunderson,
Con Funk Shun,
Hashim,
Sticky Fingaz feat. Raekwon,
Scrapy,
Public Enemy,
La Düsseldorf,
Blossom Toes,
The Wake,
Babytalk,
The Divine Comedy,
Gang Starr,
Interpol,
The Buckinghams,
This Heat,
Charles Mingus,
Swell Maps,
D'Angelo,
John Lydon,
Crash Course in Science,
The Real Kids,
Nils Olav,
Liliput,
The Saints,
Erasure,
Isaac Hayes,
Bobby Hutcherson,
Black Bananas,
Basic Channel,
Bobby Sherman,
48th St. Collective,
Lalo Schifrin,
The Dead C, The Dead C, The Dead C, The Dead C.
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.