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 Liechtenstein and from Paris.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Salvador and Lille.
I'm losing my edge to the art-school Bologna 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 Tom Verlaine 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 Slackers to the techno 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 Moody Blues. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every A Certain Ratio 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
Johnny Osbourne,
Heaven 17,
Connie Case,
Scion,
FM Einheit,
Peter Gordon & Love of Life Orchestra,
Donny Hathaway,
Niagra,
Marshall Jefferson,
Monolake,
Rhythm & Sound,
Crooked Eye,
Sugar Minott,
PIL,
Skarface,
Glambeats Corp.,
Neu!,
Sex Pistols,
Man Eating Sloth,
The Count Five,
The Smiths,
Avey Tare & Kría Brekkan,
The J.B.'s,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lalann,
Severed Heads,
Nick Cave & The Bad Seeds,
Marvin Gaye,
Dr. Dre and Snoop Doggy Dog,
Eyeless In Gaza,
Hardrive,
Sister Nancy,
Andrew Ashong & Theo Parrish,
These Immortal Souls,
The Standells,
London Community Gospel Choir,
James Chance & The Contortions,
The Dirtbombs,
Warsaw,
Stereo Dub,
Eric Dolphy,
Junior Murvin,
Bauhaus,
Tom Boy,
Electric Light Orchestra,
The Skatalites,
Nas,
Kool Moe Dee,
Sonny Sharrock,
The Offenders,
Absolute Body Control,
Agent Orange,
The Residents,
Letta Mbulu,
Eurythmics,
Iggy Pop,
Bill Wells,
Black Pus,
Little Man,
Don Cherry,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.