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 Lesotho and from Madrid.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Madrid and Milan.
I'm losing my edge to the art-school London 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Donald Fagen 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 Barry Ungar to the electroclash 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 The Human League. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
Suburban Knight,
Minnie Riperton,
Vaughan Mason & Crew,
Skaos,
Nation of Ulysses,
Sun Ra,
Soulsonic Force,
Robert Wyatt,
Schoolly D,
Trumans Water,
Andrew Ashong & Theo Parrish,
Sandy B,
ABBA,
Yusef Lateef,
The Stooges,
Gil Scott-Heron & Brian Jackson,
Index,
Vladislav Delay,
Chrome,
Gil Scott Heron,
Tom Boy,
Prince Buster,
Orchestral Manoeuvres in the Dark,
Kenny Larkin,
Infiniti,
Johnny Osbourne,
David Axelrod,
Rod Modell,
Duran Duran,
Tomorrow,
Symarip,
Young Marble Giants,
Warren Ellis,
Juan Atkins,
Ice-T,
Big Daddy Kane,
Yellowson,
Cymande,
John Coltrane,
Avey Tare,
Hardrive,
Dave Gahan,
T. Rex,
Lee Hazlewood,
Angry Samoans,
DNA,
John Cale,
Godley & Creme,
Barbara Tucker,
Letta Mbulu,
The Zeros,
Arab on Radar,
Oblivians,
David McCallum,
Pet Shop Boys,
Roxy Music,
Theoretical Girls,
DJ Style,
Interpol,
Circle Jerks,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.