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 Malaysia and from Beijing.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Tehran and Philadelphia.
I'm losing my edge to the art-school Johannesburg 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the snare 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 Orchestral Manoeuvres in the Dark to the disco 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 Jacob Miller. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Neu! record on German import.
I heard that you have a white label of every seminal funk 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 rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Tropical Tobacco,
Mr. Review,
Reagan Youth,
Flash Fearless,
Barbara Tucker,
The Star Department,
Second Layer,
Vainqueur,
Outsiders,
Barry Ungar,
Röyhkä ja Rättö ja Lehtisalo,
Sixth Finger,
Jesper Dahlback,
Deadbeat,
Aloha Tigers,
Roger Hodgson,
Von Mondo,
Country Joe & The Fish,
The Doobie Brothers,
Country Teasers,
Banda Bassotti,
Jeru the Damaja,
Rekid,
A Certain Ratio,
Blancmange,
Charles Mingus,
Lee Hazlewood,
The Red Krayola,
Aural Exciters,
Gil Scott-Heron & Brian Jackson,
Erasure,
Can,
Quando Quango,
Yaz,
Scion,
Visionaries,LMNO, T- Love & Iriscience,
Minor Threat,
Henry Cow,
In Retrospect,
Lightning Bolt,
Marmalade,
Surgeon,
Heavy D & The Boyz,
Kayak,
Barclay James Harvest,
Make Up,
Fort Wilson Riot,
Bob Dylan,
H. Thieme,
Donny Hathaway,
Anthony Braxton,
Faraquet,
Peter & Gordon,
Q65,
Danielle Patucci,
Johnny Osbourne,
The Gun Club,
X-Ray Spex,
Rhythm & Sound,
Big Daddy Kane,
Flamin' Groovies,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.