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 Korea South 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 1965 to 1970.
I'm losing my edge.
To all the kids in New York and Shanghai.
I'm losing my edge to the art-school Columbus 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Cabaret Voltaire to the punk kids.
I played it at Cafe Wha.
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 Cecil Taylor. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Donny Hathaway 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
L. Decosne,
Kayak,
Bobby Sherman,
Masters at Work,
Teenage Jesus and the Jerks,
The Blues Magoos,
Funky Four + One,
Scratch Acid,
Reuben Wilson,
DNA,
Can,
The Gories,
Pussy Galore,
Gang Green,
Bronski Beat,
Lyres,
Brass Construction,
Lou Christie,
Siglo XX,
Flamin' Groovies,
Nick Cave & The Bad Seeds,
Ash Ra Tempel,
Roy Ayers Ubiquity,
Babytalk,
Gerry Rafferty,
Main Source,
10cc,
Roy Ayers,
Hoover,
Eli Mardock,
Wire,
Sunsets and Hearts,
Grauzone,
The Kinks,
Peter and Kerry,
Parry Music,
Andrew Ashong & Theo Parrish,
The Sonics,
Sun Ra,
Matthew Halsall,
Aural Exciters,
Adolescents,
Jimmy McGriff,
Pulsallama,
Major Organ And The Adding Machine,
Lee Hazlewood,
The Selecter,
Slick Rick,
Don Cherry,
Andrew Hill,
Marmalade,
Joey Negro,
Eden Ahbez,
The Neon Judgement,
Electric Light Orchestra,
the Bar-Kays,
It's A Beautiful Day,
Sister Nancy,
Unrelated Segments,
Pharaoh Sanders and the Fire Engines,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.