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 Spain and from Manchester.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1971.
I'm losing my edge.
To all the kids in Calgary and Sao Paulo.
I'm losing my edge to the art-school Hong Kong 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the rhodes 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 Deakin to the electroclash kids.
I played it at the Roxy.
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 Warsaw. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Human League 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?
Camberwell Now,
Main Source,
Chris & Cosey,
Bizarre Inc.,
Delta 5,
Harpers Bizarre,
Eric B and Rakim,
The J.B.'s,
Gabor Szabo,
OOIOO,
Bluetip,
Swell Maps,
Peter Gordon & Love of Life Orchestra,
E-Dancer,
Chris Corsano,
Gichy Dan,
The Human League,
Swans,
Rufus Thomas,
Stereo Dub,
La Düsseldorf,
Throbbing Gristle,
Joey Negro,
Livin' Joy,
Red Lorry Yellow Lorry,
Ice-T,
Siouxsie and the Banshees,
T. Rex,
The Monks,
Dorothy Ashby,
Girls At Our Best!,
Television Personalities,
Heaven 17,
Das Ding,
New Order,
Drive Like Jehu,
David Bowie,
the Normal,
Silicon Teens,
The Star Department,
Crooked Eye,
The Fall,
Joy Division,
Kenny Larkin,
Ultravox,
The Music Machine,
The Mighty Diamonds,
Lalann,
Von Mondo,
Soft Machine,
Mars,
Nas,
Johnny Clarke,
Roxy Music,
The Stooges,
The Fortunes,
Albert Ayler,
Skaos,
Au Pairs,
Unwound,
The Men They Couldn't Hang,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.