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 Lesotho and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1962 to 1973.
I'm losing my edge.
To all the kids in Manila and Calgary.
I'm losing my edge to the art-school Philadelphia 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 clarinet 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 Kaleidoscope to the jazz kids.
I played it at the Spitz.
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 Nation of Ulysses. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every The Men They Couldn't Hang 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 '80s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Pylon,
Byron Stingily,
John Coltrane,
Sound Behaviour,
Ultra Naté,
H. Thieme,
The Cure,
Todd Rundgren,
Morten Harket,
The Angels of Light,
The Beau Brummels,
June of 44,
Rekid,
Liaisons Dangereuses,
Fort Wilson Riot,
La Düsseldorf,
The American Breed,
Can,
The Seeds,
Dennis Brown,
Severed Heads,
Aural Exciters,
Icehouse,
Donald Byrd,
Jesper Dahlbäck,
Buzzcocks,
The Slackers,
The Moleskins,
Darondo,
U.S. Maple,
Yusef Lateef,
The Pretty Things,
Lalo Schifrin,
Subhumans,
Curtis Mayfield,
Art Ensemble Of Chicago,
Grauzone,
Arab on Radar,
Spoonie Gee,
Yellowson,
Black Bananas,
Robert Wyatt,
Quando Quango,
Notorious BIG live in Amsterdam,
Dawn Penn,
The Associates,
Eddi Front,
Arcadia,
It's A Beautiful Day,
Minutemen,
Leonard Cohen,
These Immortal Souls,
Janne Schatter,
Alphaville,
Toni Rubio,
Bizarre Inc.,
The Sound,
L. Decosne,
JFA,
The Motions, The Motions, The Motions, The Motions.
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.