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 Benin and from Salvador.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Seoul.
I'm losing my edge to the art-school Spokane 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 organ 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 Eyeless In Gaza to the rap kids.
I played it at CBGB's.
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 Adolescents. All the underground hits.
All Lower 48 tracks. I heard you have a vinyl of every Aural Exciters 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a New Order record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
Dawn Penn,
Crash Course in Science,
Brothers Johnson,
Big Daddy Kane,
Gang Gang Dance,
Arthur Verocai,
Isaac Hayes,
Suicide,
Dual Sessions,
Avey Tare & Kría Brekkan,
Ponytail,
Joe Finger,
Country Joe & The Fish,
Letta Mbulu,
The Divine Comedy,
Mark Hollis,
Robert Wyatt,
Graham Central Station,
Rotary Connection,
Bobby Hutcherson,
Fifty Foot Hose,
Patti Smith,
Deutsch Amerikanische Freundschaft,
Matthew Halsall,
Albert Ayler,
Grey Daturas,
Pole,
Chrome,
Massinfluence,
E-Dancer,
Captain Beefheart & His Magic Band,
Cecil Taylor,
A Flock of Seagulls,
Blancmange,
Rhythm & Sound,
Aswad,
Bauhaus,
Inner City,
Marc Romboy vs. Booka Shade,
The Music Machine,
Donny Hathaway,
Monks,
Tropical Tobacco,
Intrusion,
Second Layer,
Lizzy Mercier Descloux,
Infiniti,
Marshall Jefferson,
Amon Düül,
The Alarm Clocks,
Gerry Rafferty,
John Coltrane,
Royal Trux,
Drexciya,
Scratch Acid,
Blake Baxter,
Kauko Röyhkä ja Narttu,
Newcleus,
Young Marble Giants,
the Fania All-Stars,
DeepChord presents Echospace,
Chris & Cosey,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.