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 Dominica and from Sao Paulo.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1970.
I'm losing my edge.
To all the kids in Portland and New York.
I'm losing my edge to the art-school Winnipeg 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 arpeggiator 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 June Days to the funk 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 In Retrospect. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every Motorama 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 '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Saints record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
Porter Ricks,
London Community Gospel Choir,
CMW,
Vladislav Delay,
Panda Bear,
Easy Going,
Tears for Fears,
Soul Sonic Force,
Carl Craig,
The Sound,
KRS-One,
Y Pants,
The Techniques,
Eddi Front,
Röyhkä ja Rättö ja Lehtisalo,
The Gap Band,
Whodini,
Connie Case,
Sex Pistols,
Tres Demented,
Gong,
B.T. Express,
Alton Ellis,
The Slackers,
A Certain Ratio,
Nation of Ulysses,
The Chocolate Watch Band,
Severed Heads,
Deutsch Amerikanische Freundschaft,
John Foxx,
Hashim,
Average White Band,
Barrington Levy,
Girls At Our Best!,
Excepter,
The Neon Judgement,
Aural Exciters,
Rapeman,
Nils Olav,
Skriet,
Pantaleimon,
Pet Shop Boys,
Oppenheimer Analysis,
Anthony Braxton,
Popol Vuh,
A Flock of Seagulls,
48th St. Collective,
Loose Ends,
Ronnie Foster,
Flipper,
Black Pus,
Interpol,
Television Personalities,
Dawn Penn,
Masters at Work,
Drive Like Jehu,
Unwound,
Youth Brigade,
Sandy B,
Art Ensemble Of Chicago,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.