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 Jamaica and from New York.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1975.
I'm losing my edge.
To all the kids in Salvador and Tokyo.
I'm losing my edge to the art-school Bremen 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 chamberlin 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 Sparks to the electroclash 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 Rahsaan Roland Kirk. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every The Last Poets record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Seeds,
Lonnie Liston Smith,
Tomorrow,
Aaron Thompson,
Agent Orange,
Barclay James Harvest,
Oppenheimer Analysis,
Chrome,
Arthur Verocai,
Guru Guru,
One Last Wish,
Make Up,
Popol Vuh,
Slave,
Wighnomy Brothers & Robag Wruhme,
Marmalade,
Rites of Spring,
Frankie Knuckles,
Henry Cow,
Boredoms,
the Slits,
Andrew Hill,
The Alarm Clocks,
X-Ray Spex,
Deadbeat,
It's A Beautiful Day,
Manfred Mann's Earth Band,
Pole,
Mantronix,
Eric B and Rakim,
Yusef Lateef,
The Sound,
Eli Mardock,
The Kinks,
Gastr Del Sol,
Brick,
Buzzcocks,
John Holt,
The Shadows of Knight,
Nick Fraelich,
Juan Atkins,
The Cosmic Jokers,
the Normal,
The Happenings,
The Gap Band,
The Men They Couldn't Hang,
Marshall Jefferson,
Godley & Creme,
B.T. Express,
The Misunderstood,
Tommy Roe,
The Motions,
Altered Images,
the Soft Cell,
Cabaret Voltaire,
In Retrospect,
The Sisters of Mercy,
Sunsets and Hearts,
Jimmy McGriff,
Kool G Rap & DJ Polo,
KRS-One,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.