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 Macedonia and from Cairo.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Madrid and Copenhagen.
I'm losing my edge to the art-school Beijing 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 1978 at the first Visage practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Gabor Szabo to the grime kids.
I played it at the Troubador.
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 Judy Mowatt. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Jeru the Damaja record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an arpeggiator 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 clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Kas Product,
Aural Exciters,
Wolf Eyes,
Todd Terry,
Man Parrish,
Scion,
Delta 5,
Harmonia,
Dawn Penn,
Eyeless In Gaza,
ABC,
The Gladiators,
Smog,
Gang Gang Dance,
Delon & Dalcan,
Jacob Miller,
Eric Dolphy,
B.T. Express,
Interpol,
Scratch Acid,
Rowland S Howard / Lydia Lunch,
Peter & Gordon,
Kevin Saunderson,
Public Image Ltd.,
Q and Not U,
T.S.O.L.,
Ajijia Myrayebe,
Erasure,
Todd Rundgren,
Bootsy Collins,
Michelle Simonal,
Eli Mardock,
Marmalade,
Neil Young,
Lower 48,
Tom Boy,
FM Einheit,
New York Dolls,
Reuben Wilson,
Nas,
Fad Gadget,
The Monochrome Set,
Pierre Henry,
Sixth Finger,
Black Sheep,
The Durutti Column,
In Retrospect,
T. Rex,
China Crisis,
Be Bop Deluxe,
Masters at Work,
The Residents,
D'Angelo,
A Flock of Seagulls,
Nik Kershaw,
Minor Threat,
the Slits,
The Toasters,
Lakeside,
The Real Kids,
Kaleidoscope,
Fifty Foot Hose,
Skriet, Skriet, Skriet, Skriet.
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.