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 Botswana and from Bremen.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Tehran and London.
I'm losing my edge to the art-school Manchester 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the guitar sounds with much patience.
I was there when Holger Czukay 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 Easy Going to the electroclash kids.
I played it at Trash.
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 Tom Boy. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every The Red Krayola 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 '80s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Curtis Mayfield,
Kerrie Biddell,
Masters at Work,
Man Parrish,
Neil Young & Crazy Horse,
The American Breed,
Make Up,
Susan Cadogan,
Sonny Sharrock,
Eric Dolphy,
Nas,
Charles Mingus,
KRS-One,
London Community Gospel Choir,
The Peanut Butter Conspiracy,
OOIOO,
Jimmy McGriff,
Glambeats Corp.,
The Vogues,
Popol Vuh,
Television Personalities,
Roy Ayers,
Public Image Ltd.,
Fear,
Ralphi Rosario,
Cheater Slicks,
Chris & Cosey,
the Soft Cell,
Ten City,
The Litter,
Reagan Youth,
Bobby Womack,
Barrington Levy,
Brick,
Rod Modell,
Gang Gang Dance,
Johnny Osbourne,
Easy Going,
Con Funk Shun,
ABBA,
Joyce Sims,
Reuben Wilson,
Sight & Sound,
James White and The Blacks,
T. Rex,
David Axelrod,
Max Romeo,
Dave Gahan,
Vaughan Mason & Crew,
Deutsch Amerikanische Freundschaft,
the Normal,
It's A Beautiful Day,
Trumans Water,
Steve Hackett,
Boogie Down Productions,
Connie Case,
Eric B and Rakim,
Aloha Tigers,
Funky Four + One,
Blake Baxter,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.