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 Eritrea and from London.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Lille and Copenhagen.
I'm losing my edge to the art-school Hong Kong 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Derrick May to the grime 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 Gian Franco Pienzio. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
Massinfluence,
David McCallum,
The American Breed,
Eve St. Jones,
The Saints,
Inner City,
Nas,
Ice-T,
Scan 7,
UT,
Andrew Ashong & Theo Parrish,
Wire,
Letta Mbulu,
cv313,
The Toasters,
The Searchers,
Ralphi Rosario,
Spandau Ballet,
Angels of Light & Akron/Family,
Scion,
Judy Mowatt,
Gichy Dan,
Camberwell Now,
Jerry Gold Smith,
Lightning Bolt,
Stockholm Monsters,
Clear Light,
Alison Limerick,
The Neon Judgement,
The Blues Magoos,
Gian Franco Pienzio,
Mr. Review,
Alphaville,
Rhythm & Sound,
Quadrant,
Excepter,
The Star Department,
Rekid,
Tommy Roe,
Gastr Del Sol,
JFA,
Bobby Hutcherson,
Fear,
Electric Light Orchestra,
The Fall,
Siouxsie and the Banshees,
Joensuu 1685,
Masters at Work,
Con Funk Shun,
Teenage Jesus and the Jerks,
Ossler,
Wasted Youth,
Fluxion,
Soft Cell,
Funkadelic,
Agitation Free,
Nick Fraelich,
The Human League,
Deepchord,
Radio Birdman,
Ultimate Spinach, Ultimate Spinach, Ultimate Spinach, Ultimate Spinach.
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.