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 Uruguay and from Toronto.
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 1972.
I'm losing my edge.
To all the kids in Seoul and Mumbai.
I'm losing my edge to the art-school Winnipeg 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 Mistral practice in a loft in Amsterdam.
I was working on the theremin sounds with much patience.
I was there when Nile Rodgers 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 Icehouse to the electroclash 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 Sad Lovers and Giants. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every The Cure record on German import.
I heard that you have a white label of every seminal rap 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
Fear,
Bobby Hutcherson,
Gerry Rafferty,
Barrington Levy,
Johnny Osbourne,
Nik Kershaw,
The West Coast Pop Art Experimental Band,
New York Dolls,
Notorious Big And Bone Thugs,
The J.B.'s,
Black Sheep,
K-Klass,
Crime,
Urselle,
Louis and Bebe Barron,
Gregory Isaacs,
Nirvana,
Joe Finger,
Eyeless In Gaza,
The Alarm Clocks,
Desert Stars,
Arab on Radar,
Robert Görl,
The Sound,
Second Layer,
Roger Hodgson,
Procol Harum,
Graham Central Station,
Aural Exciters,
Camouflage,
Infiniti,
Excepter,
Nico,
Sight & Sound,
Spandau Ballet,
John Foxx,
Avey Tare's Slasher Flicks,
The Fall,
Sarah Menescal,
Prince Buster,
Quantec,
Jeru the Damaja,
Soul II Soul,
Frankie Knuckles,
Andrew Ashong & Theo Parrish,
Guru Guru,
Kurtis Blow,
Angels of Light & Akron/Family,
Bang On A Can,
Qualms,
LL Cool J,
Stetsasonic,
Traffic Nightmare,
Hasil Adkins,
Mission of Burma,
48th St. Collective,
One Last Wish,
New Order,
Matthew Bourne,
Erykah Badu,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.