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 South Africa and from Calgary.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1967 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Winnipeg.
I'm losing my edge to the art-school Toronto 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 Nile Rodgers 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 Zapp to the crunk kids.
I played it at the Roxy.
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 Gregory Isaacs. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Schoolly D record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Alphaville,
Maleditus Sound,
Warsaw,
Black Bananas,
Ornette Coleman,
Red Lorry Yellow Lorry,
The Count Five,
Faust,
Swans,
Vladislav Delay,
Freddie Wadling,
Grandmaster Flash,
The Busters,
Dawn Penn,
The Smiths,
Connie Case,
Electric Prunes,
Harpers Bizarre,
Skarface,
The Selecter,
Chris Corsano,
Echo & the Bunnymen,
Derrick Morgan,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Alison Limerick,
Gang Gang Dance,
Eli Mardock,
Clear Light,
John Holt,
The Five Americans,
Gerry Rafferty,
Parry Music,
Severed Heads,
The Men They Couldn't Hang,
Peter and Kerry,
Scientists,
Marmalade,
Tropical Tobacco,
Young Marble Giants,
The Residents,
The New Christs,
The Fire Engines,
John Lydon,
Rhythim Is Rhythim,
Hashim,
Simply Red,
The Moleskins,
John Foxx,
The Doors,
London Community Gospel Choir,
Bauhaus,
Henry Cow,
U.S. Maple,
Bobby Womack,
The Leaves,
the Germs,
Stiv Bators,
Gian Franco Pienzio,
Negative Approach,
Eurythmics,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.