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 Malawi and from Toronto.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Spokane.
I'm losing my edge to the art-school Bremen 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 marimba sounds with much patience.
I was there when Michael McDonald 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 The Blackbyrds to the jazz 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 The Divine Comedy. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Oneida,
Ice-T,
Whodini,
Marvin Gaye,
Easy Going,
The Men They Couldn't Hang,
Inner City,
Infiniti,
Art Ensemble Of Chicago,
The Birthday Party,
Sad Lovers and Giants,
Deutsch Amerikanische Freundschaft,
Make Up,
The Royal Family And The Poor,
the Normal,
Anakelly,
Hashim,
June Days,
Matthew Halsall,
Johnny Clarke,
Babytalk,
Bill Wells,
Rekid,
Alphaville,
Pete Rock & C.L. Smooth,
Brass Construction,
Wolf Eyes,
T. Rex,
Country Teasers,
Marcia Griffiths,
Erasure,
Ken Boothe,
Fela Kuti,
The Zeros,
Danielle Patucci,
Blancmange,
Manfred Mann's Earth Band,
The Dirtbombs,
Kayak,
Tom Boy,
Darondo,
Dennis Brown,
The Cure,
Gastr Del Sol,
Basic Channel,
X-102,
Porter Ricks,
The Alarm Clocks,
The Divine Comedy,
A Certain Ratio,
Loose Ends,
Amon Düül,
Bobbi Humphrey,
Toni Rubio,
DJ Style,
Hardrive,
Absolute Body Control,
Hasil Adkins,
Outsiders,
Avey Tare's Slasher Flicks,
Isaac Hayes,
Pet Shop Boys,
Fluxion,
Dawn Penn, Dawn Penn, Dawn Penn, Dawn Penn.
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.