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 Uganda and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Lagos and Taipei.
I'm losing my edge to the art-school Sao Paulo 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 oboe 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 Grauzone to the rock 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 The Velvet Underground. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Tears for Fears record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lakeside,
The Techniques,
Newcleus,
Minor Threat,
MC5,
The Seeds,
AZ,
Danielle Patucci,
X-Ray Spex,
Make Up,
The American Breed,
Los Fastidios,
the Fania All-Stars,
Fugazi,
Pete Rock & C.L. Smooth,
K-Klass,
Darondo,
Heavy D & The Boyz,
Brand Nubian,
Livin' Joy,
Erykah Badu,
Warren Ellis,
The Doobie Brothers,
Nils Olav,
Mad Mike,
The Gories,
John Foxx,
Lyres,
Moby Grape,
Dr. Dre and Snoop Doggy Dog,
Ronnie Foster,
Connie Case,
Fela Kuti,
La Düsseldorf,
MDC,
Procol Harum,
Yellowson,
Red Lorry Yellow Lorry,
Deadbeat,
Zapp,
Jesper Dahlback,
Kayak,
Roxy Music,
Black Sheep,
Lou Reed & John Cale,
Junior Murvin,
Liliput,
Can,
LL Cool J,
D'Angelo,
Fort Wilson Riot,
The Moody Blues,
Mr. Review,
The Kinks,
These Immortal Souls,
June of 44,
Andrew Hill,
Louis and Bebe Barron,
The Selecter,
Sly & The Family Stone,
Main Source,
Vainqueur,
Excepter,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.