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 Papua New Guinea and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Philadelphia and Jakarta.
I'm losing my edge to the art-school Houston 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 808 sounds with much patience.
I was there when David Bowie 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 Cabaret Voltaire to the funk kids.
I played it at the 40 Watt.
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 Andrew Ashong & Theo Parrish. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Icehouse,
Sly & The Family Stone,
Yellowson,
Carl Craig,
Mad Mike,
Gary Puckett & The Union Gap,
Major Organ And The Adding Machine,
James Chance & The Contortions,
David Bowie,
Althea and Donna,
Roxette,
The Blackbyrds,
Sam Rivers,
Bobby Byrd,
Los Fastidios,
The Slits,
Lonnie Liston Smith,
Half Japanese,
Harmonia,
Glambeats Corp.,
Nas,
Angry Samoans,
The Smoke,
The Cowsills,
The Associates,
Ornette Coleman,
Siglo XX,
Grandmaster Flash and the Furious Five,
Todd Rundgren,
Cameo,
John Holt,
MDC,
Vainqueur,
Dr. Dre and Snoop Doggy Dog,
Eve St. Jones,
Pierre Henry,
Sugar Minott,
Brick,
Pere Ubu,
Pole,
The Detroit Cobras,
Ultravox,
Terrestrial Tones,
Al Stewart,
Fort Wilson Riot,
Erasure,
UT,
Suicide,
The Moody Blues,
Michelle Simonal,
Jerry's Kids,
Warren Ellis,
Minutemen,
Lou Christie,
Grey Daturas,
Model 500,
Negative Approach,
Neil Young & Crazy Horse,
Neil Young,
Camron Feat. Memphis Bleek And Beenie Seigel,
Oppenheimer Analysis,
The Selecter, The Selecter, The Selecter, The Selecter.
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.