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 Azerbaijan and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Tehran and Portland.
I'm losing my edge to the art-school Taipei 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 oboe sounds with much patience.
I was there when Donald Fagen 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 The Barracudas to the disco 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 Icehouse. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Main Source,
Bauhaus,
Black Sheep,
The Human League,
Reuben Wilson,
Glambeats Corp.,
Matthew Bourne,
The Toasters,
Deakin,
Harpers Bizarre,
The Star Department,
The Buckinghams,
Cluster,
Fear,
Wighnomy Brothers & Robag Wruhme,
Freddie Wadling,
Robert Wyatt,
Mary Jane Girls,
Franke,
Gil Scott-Heron and Jamie xx,
Interpol,
Tommy Roe,
R.M.O.,
Kayak,
Young Marble Giants,
Depeche Mode,
Infiniti,
Ken Boothe,
Matthew Halsall,
Donald Byrd,
China Crisis,
Faust,
Kurtis Blow,
Gang Green,
New Order,
Oneida,
Kings Of Tomorrow,
Marvin Gaye,
Vaughan Mason & Crew,
Pete Rock & C.L. Smooth,
The Black Dice,
Beasts of Bourbon,
Lakeside,
Television,
Circle Jerks,
Agitation Free,
Mad Mike,
Todd Rundgren,
Carl Craig,
De La Soul & Jungle Brothers,
Fatback Band,
Ultravox,
James White and The Blacks,
The West Coast Pop Art Experimental Band,
Teenage Jesus and the Jerks,
Deepchord,
Bad Manners,
Sun Ra Arkestra,
Groovy Waters,
the Bar-Kays,
Orchestral Manoeuvres in the Dark,
Eric Copeland,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.