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 Stockholm.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Stockholm.
I'm losing my edge to the art-school Woodstock 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 snare 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 Victims to the funk kids.
I played it at the Crocodile.
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 Barry Ungar. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Charles Mingus,
Fort Wilson Riot,
Chris & Cosey,
Pylon,
Morten Harket,
Henry Cow,
The Motions,
Monks,
Black Flag,
The Star Department,
The Residents,
Roxy Music,
AZ,
Todd Rundgren,
Joensuu 1685,
R.M.O.,
Rowland S Howard / Lydia Lunch,
Qualms,
Spandau Ballet,
Ken Boothe,
The Sonics,
Amon Düül II,
The Smiths,
Technova,
Albert Ayler,
Sonny Sharrock,
Stereo Dub,
The American Breed,
Bobby Womack,
Derrick Morgan,
Kango’s Stein Massive,
Frankie Knuckles,
Popol Vuh,
the Soft Cell,
The Tremeloes,
Junior Murvin,
Susan Cadogan,
The Jesus and Mary Chain,
Stiv Bators,
Liaisons Dangereuses,
Andrew Hill,
Glambeats Corp.,
Erasure,
The Flesh Eaters,
James White and The Blacks,
Dead Boys,
Anakelly,
Blake Baxter,
Sexual Harrassment,
The Skatalites,
Sugar Minott,
Roy Ayers Ubiquity,
Radiopuhelimet,
Pet Shop Boys,
Patti Smith,
The Red Krayola,
Siglo XX,
Michelle Simonal,
Kerri Chandler,
Captain Beefheart & His Magic Band,
Lyres,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.