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 Lebanon and from Manila.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Lyon.
I'm losing my edge to the art-school Mexico City 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 mellotron 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 Q65 to the dance kids.
I played it at the Hacienda.
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 Deepchord. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Prince Buster 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Robert Wyatt,
The Trojans,
Basic Channel,
Electric Prunes,
Robert Hood,
Warren Ellis,
Bobby Womack,
Prince Buster,
Fort Wilson Riot,
Brothers Johnson,
Avey Tare & Kría Brekkan,
Slave,
Joe Smooth,
Dr. Dre and Snoop Doggy Dog,
Bronski Beat,
Mad Mike,
Easy Going,
Fugazi,
Sparks,
Slick Rick,
Lightning Bolt,
Marc Romboy vs. Booka Shade,
Amon Düül,
Kings Of Tomorrow,
Smog,
Chris & Cosey,
Sun Ra Arkestra,
Dark Day,
Rosa Yemen,
Cal Tjader,
Subhumans,
Quando Quango,
Ice-T,
Essential Logic,
Rufus Thomas,
Echospace,
Pere Ubu,
Barry Ungar,
Throbbing Gristle,
Can,
Al Stewart,
Public Enemy,
Stetsasonic,
Quantec,
Aaron Thompson,
Aloha Tigers,
Scott Walker,
Eric B and Rakim,
10cc,
The Searchers,
Radiopuhelimet,
Soul II Soul,
The Invisible,
Severed Heads,
Beasts of Bourbon,
Bang on a Can All-Stars,
Grandmaster Flash and the Furious Five,
Kango’s Stein Massive,
The Gladiators,
Graham Central Station,
Wasted Youth,
Lonnie Liston Smith,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.