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 Nicaragua and from Edmonton.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Lille and Accra.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Jerry's Kids to the grime kids.
I played it at the Hacienda.
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 Khruangbin. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Archie Shepp record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Throbbing Gristle,
Accadde A,
Oneida,
Shoche,
Isaac Hayes,
Selector Dub Narcotic,
Blake Baxter,
Susan Cadogan,
Wally Richardson,
Brand Nubian,
Moss Icon,
Avey Tare,
The Trojans,
Crispian St. Peters,
Bobby Sherman,
Mr. Review,
Inner City,
Laurel Aitken,
Super Lover Cee & Casanova Rud,
The Barracudas,
Joey Negro,
Gil Scott-Heron & Brian Jackson,
Terry Callier,
Pharaoh Sanders and the Fire Engines,
Deadbeat,
Morten Harket,
Radiopuhelimet,
The United States of America,
Gil Scott Heron,
Todd Rundgren,
Jimmy McGriff,
Can,
Scratch Acid,
Lalann,
World's Most,
Eddi Front,
Bootsy's Rubber Band,
Massinfluence,
The Seeds,
Derrick Morgan,
The Dirtbombs,
London Community Gospel Choir,
Bill Wells,
Fear,
Roy Ayers,
Be Bop Deluxe,
X-101,
Trumans Water,
Dave Gahan,
N.O.R.E. Featuring Pharrell,
Gabor Szabo,
Rod Modell,
Howard Jones,
Visionaries,LMNO, T- Love & Iriscience,
Ultravox,
The Mojo Men,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.