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 Bhutan and from Lille.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Halifax and Portland.
I'm losing my edge to the art-school Halifax 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 1978 at the first Visage practice in a loft in London.
I was working on the 808 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 ABC to the punk kids.
I played it at the Roxy.
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 Jesper Dahlback. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every The Sonics 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & John Cale,
Rotary Connection,
Davy DMX,
Brothers Johnson,
Gil Scott Heron,
Alice Coltrane,
Cameo,
The Leaves,
Althea and Donna,
Sight & Sound,
Gastr Del Sol,
Bronski Beat,
Nation of Ulysses,
Siglo XX,
Mantronix,
Monolake,
DeepChord presents Echospace,
Procol Harum,
Agent Orange,
Fat Boys,
The Vogues,
B.T. Express,
Roy Ayers Ubiquity,
U.S. Maple,
Niagra,
Wally Richardson,
Mars,
Captain Beefheart & His Magic Band,
The Techniques,
Lee Hazlewood,
Lucky Dragons,
Sam Rivers,
Yaz,
Wasted Youth,
MC5,
Michelle Simonal,
Fugazi,
Liliput,
Brick,
Tom Boy,
Panda Bear,
Half Japanese,
Connie Case,
The Names,
Black Bananas,
Sound Behaviour,
Peter & Gordon,
Kango’s Stein Massive,
Lizzy Mercier Descloux,
Gil Scott-Heron & Brian Jackson,
Maurizio,
Urselle,
The Peanut Butter Conspiracy,
The Offenders,
Monks,
In Retrospect,
Larry & the Blue Notes,
Mandrill,
Reuben Wilson,
The Electric Prunes,
Grandmaster Flash,
The Black Dice,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.