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 Honduras and from Seoul.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Manila and Glasgow.
I'm losing my edge to the art-school Manchester 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the snare 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 Royal Trux to the jazz kids.
I played it at the Astoria.
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 Selecter. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Stockholm Monsters 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 '70s cut and another box set from the '70s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Cheater Slicks record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Slave,
Faraquet,
Scratch Acid,
The Grass Roots,
Liaisons Dangereuses,
The Slits,
Drexciya,
Kaleidoscope,
The Neon Judgement,
Pantytec,
Groovy Waters,
Morten Harket,
Rhythim Is Rhythim,
the Association,
Crispy Ambulance,
Soul II Soul,
Peter and Kerry,
Matthew Bourne,
The Fugs,
Big Daddy Kane,
the Sonics,
Bobby Womack,
Joensuu 1685,
Faust,
Aaron Thompson,
Technova,
Bauhaus,
The Doobie Brothers,
The Royal Family And The Poor,
DJ Sneak,
Dorothy Ashby,
Hashim,
Sparks,
Swell Maps,
The Dirtbombs,
The American Breed,
Ohio Players,
Young Marble Giants,
Deakin,
Saccharine Trust,
Oblivians,
EPMD,
David McCallum,
The Monks,
Marmalade,
the Soft Cell,
John Lydon,
Q65,
Porter Ricks,
Agitation Free,
Deadbeat,
La Düsseldorf,
This Heat,
Dark Day,
Sun Ra,
Johnny Clarke,
Rahsaan Roland Kirk,
Laurel Aitken,
The Divine Comedy,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.