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 Antigua and from Mumbai.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1968 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Madrid.
I'm losing my edge to the art-school Paris 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 H. Thieme to the funk 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 Qualms. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Altered Images record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Fugs record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
The Chocolate Watch Band,
Arab on Radar,
Pole,
Pantaleimon,
Oneida,
Super Lover Cee & Casanova Rud,
Dual Sessions,
Los Fastidios,
Nation of Ulysses,
Avey Tare's Slasher Flicks,
Little Man,
Zapp,
The Moleskins,
Sällskapet,
Gregory Isaacs,
Echospace,
The Fire Engines,
The Vogues,
New Age Steppers,
Ultramagnetic MC's,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
John Foxx,
David Axelrod,
Pere Ubu,
The Dave Clark Five,
Wolf Eyes,
Scientists,
Thinking Fellers Union Local 282,
Louis and Bebe Barron,
Lou Christie,
Angry Samoans,
The Modern Lovers,
Kayak,
Scion,
The Smoke,
Stockholm Monsters,
Liliput,
The Velvet Underground,
Fugazi,
Hardrive,
Tears for Fears,
The Monks,
The Buckinghams,
Nik Kershaw,
Infiniti,
Lakeside,
The Toasters,
Oppenheimer Analysis,
Gary Puckett & The Union Gap,
Thompson Twins,
The Tremeloes,
The Leaves,
Crispy Ambulance,
Camouflage,
Jacob Miller,
Donny Hathaway,
Susan Cadogan,
The Offenders,
Parry Music,
Kings Of Tomorrow,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.