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 Dominica and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Calgary.
I'm losing my edge to the art-school Calgary 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Jimmy McGriff to the grunge kids.
I played it at the Crocodile.
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 Cameo tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Aaron Thompson,
Marmalade,
Hardrive,
Fear,
Bobby Byrd,
Peter and Kerry,
Theoretical Girls,
Stockholm Monsters,
Marc Romboy vs. Booka Shade,
Major Organ And The Adding Machine,
Terrestrial Tones,
Pagans,
Talk Talk,
The Standells,
Bob Dylan,
Aswad,
The Jesus and Mary Chain,
Loose Ends,
Joensuu 1685,
U.S. Maple,
De La Soul & Jungle Brothers,
Silicon Teens,
James White and The Blacks,
Sun City Girls,
The Motions,
Derrick May,
Surgeon,
Danielle Patucci,
Model 500,
Deakin,
Lakeside,
Grandmaster Flash,
Radiohead,
Richard Hell and the Voidoids,
Connie Case,
The Sonics,
Magma,
Sun Ra Arkestra,
Ralphi Rosario,
Susan Cadogan,
Tears for Fears,
Lee Hazlewood,
Ornette Coleman,
The Peanut Butter Conspiracy,
DNA,
The Blackbyrds,
MC5,
Lalann,
Darondo,
The Invisible,
Vainqueur,
Popol Vuh,
Bobby Sherman,
Brothers Johnson,
Rites of Spring,
Stereo Dub,
Aural Exciters,
ABC,
World's Most,
The Toasters,
The Men They Couldn't Hang,
X-Ray Spex,
Crispian St. Peters,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.