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 Tajikistan and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school Tokyo 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 marimba sounds with much patience.
I was there when Lou Reed 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 Japan to the dance 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 X-102. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
James Chance & The Contortions,
the Bar-Kays,
Lucky Dragons,
China Crisis,
Al Stewart,
Visage,
The Tremeloes,
The Dead C,
H. Thieme,
Joensuu 1685,
Strawberry Alarm Clock,
Das Ding,
The Pop Group,
Mark Hollis,
Donald Byrd,
Ohio Players,
The West Coast Pop Art Experimental Band,
Agent Orange,
The Grass Roots,
Mr. Review,
The Doors,
R.M.O.,
Lizzy Mercier Descloux,
Carl Craig,
Banda Bassotti,
Rotary Connection,
E-Dancer,
Kurtis Blow,
Sällskapet,
Pere Ubu,
Rufus Thomas,
Neil Young & Crazy Horse,
Depeche Mode,
The Associates,
the Fania All-Stars,
K-Klass,
DJ Sneak,
The Flesh Eaters,
Yazoo,
The Busters,
This Heat,
The Music Machine,
X-Ray Spex,
Qualms,
Tomorrow,
Kerrie Biddell,
Talk Talk,
Connie Case,
Franke,
Audionom,
The Wake,
The Alarm Clocks,
Echospace,
The Offenders,
Sound Behaviour,
Cecil Taylor,
Infiniti,
Gil Scott Heron,
Black Pus,
Youth Brigade,
Grandmaster Flash and the Furious Five,
Blossom Toes,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.