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 Bulgaria and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Columbus and Jakarta.
I'm losing my edge to the art-school Johannesburg 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 harpsichord 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 Adolescents to the jazz kids.
I played it at the Crocodile.
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 The Techniques. All the underground hits.
All The Raincoats tracks. I heard you have a vinyl of every The Martian 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 '60s cut and another box set from the '70s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lungfish,
Pierre Henry,
Fear,
Kerrie Biddell,
Grandmaster Flash and the Furious Five,
The Fuzztones,
Peter and Kerry,
Masters at Work,
Groovy Waters,
Thompson Twins,
Basic Channel,
Simply Red,
R.M.O.,
Crime,
Grey Daturas,
Throbbing Gristle,
Easy Going,
The Pop Group,
Darondo,
Kayak,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rufus Thomas,
Joe Finger,
Joey Negro,
Carl Craig,
Suicide,
Johnny Osbourne,
Bang On A Can,
Aural Exciters,
X-102,
Wolf Eyes,
The Jesus and Mary Chain,
Bob Dylan,
The Angels of Light,
The Detroit Cobras,
Sun Ra,
Sun Ra Arkestra,
Moss Icon,
Gabor Szabo,
Ajijia Myrayebe,
The Cramps,
Max Romeo,
The Barracudas,
Blancmange,
the Slits,
The Tremeloes,
Monks,
Minor Threat,
Henry Cow,
The Cure,
Larry & the Blue Notes,
Unrelated Segments,
Echospace,
John Foxx,
Ultimate Spinach,
Michelle Simonal,
Tom Boy,
The Star Department,
Robert Hood,
Donny Hathaway, Donny Hathaway, Donny Hathaway, Donny Hathaway.
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.