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 Mauritius and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Taipei and Shanghai.
I'm losing my edge to the art-school Bologna 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer 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 The Misunderstood to the techno 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 Marvin Gaye. All the underground hits.
All Carl Craig 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 jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
Oblivians,
The Remains,
The Standells,
Charles Mingus,
Guru Guru,
DJ Style,
L. Decosne,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Teenage Jesus and the Jerks,
The Shadows of Knight,
Joey Negro,
Rites of Spring,
Joensuu 1685,
The Slits,
LL Cool J,
The Trojans,
Judy Mowatt,
ABC,
Negative Approach,
The Motions,
Deakin,
Peter and Kerry,
Cameo,
Minny Pops,
the Soft Cell,
Infiniti,
The Dirtbombs,
Nick Fraelich,
The Litter,
The Raincoats,
Sight & Sound,
The Saints,
Reuben Wilson,
Public Image Ltd.,
Kas Product,
The Fall,
Drive Like Jehu,
Ohio Players,
Desert Stars,
Grauzone,
A Certain Ratio,
Rufus Thomas,
Cymande,
The Doors,
Porter Ricks,
Thompson Twins,
Scratch Acid,
Thinking Fellers Union Local 282,
Banda Bassotti,
Notorious Big And Bone Thugs,
The Busters,
The Five Americans,
Outsiders,
The Modern Lovers,
Main Source,
Bootsy's Rubber Band,
Bobby Womack,
X-101,
The Tremeloes,
Faraquet,
T.S.O.L.,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.