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 Malta and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Columbus.
I'm losing my edge to the art-school Jakarta 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 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 Flash Fearless to the grunge 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 Red Lorry Yellow Lorry. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every Wolf Eyes record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Todd Terry,
Japan,
Fugazi,
Gian Franco Pienzio,
Rhythm & Sound,
The Tremeloes,
Marshall Jefferson,
Wings,
Ash Ra Tempel,
Archie Shepp,
The Fuzztones,
Ice-T,
Arab on Radar,
Faraquet,
Chris & Cosey,
Kings Of Tomorrow,
T. Rex,
The Slackers,
Marc Romboy vs. Booka Shade,
Public Image Ltd.,
Magazine,
The Pop Group,
AZ,
LL Cool J,
Fat Boys,
Mars,
Alice Coltrane,
the Soft Cell,
De La Soul & Jungle Brothers,
Wighnomy Brothers & Robag Wruhme,
Masters at Work,
Monks,
PIL,
Lou Reed & John Cale,
Bobby Byrd,
Zero Boys,
Marcia Griffiths,
Lower 48,
The Cowsills,
Electric Light Orchestra,
Rakim,
Davy DMX,
JFA,
Cluster,
Alison Limerick,
Electric Prunes,
The Sisters of Mercy,
Sticky Fingaz feat. Raekwon,
Roxette,
Sad Lovers and Giants,
Negative Approach,
Lyres,
Vladislav Delay,
Hardrive,
Black Sheep,
Mandrill,
Isaac Hayes,
The Dirtbombs,
Orchestral Manoeuvres in the Dark,
The Angels of Light,
E-Dancer,
Dorothy Ashby,
the Normal,
The Invisible, The Invisible, The Invisible, The Invisible.
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.