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 Uganda and from Halifax.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Bremen and Philadelphia.
I'm losing my edge to the art-school Tokyo 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 güiro 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 Qualms to the crunk kids.
I played it at the 40 Watt.
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 Bad Manners. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Peter & Gordon 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 '70s cut and another box set from the '70s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
a-ha,
Cabaret Voltaire,
Aural Exciters,
Erykah Badu,
Japan,
Guru Guru,
Warsaw,
Joensuu 1685,
Oppenheimer Analysis,
In Retrospect,
Altered Images,
Sam Rivers,
The Seeds,
Ultravox,
Bauhaus,
Khruangbin,
World's Most,
Be Bop Deluxe,
Pulsallama,
Soul Sonic Force,
Davy DMX,
Tubeway Army,
Sight & Sound,
Siouxsie and the Banshees,
Lyres,
Anthony Braxton,
Ash Ra Tempel,
David McCallum,
Jimmy McGriff,
Jeru the Damaja,
Porter Ricks,
The Residents,
Jerry Gold Smith,
Black Moon,
Henry Cow,
David Axelrod,
Skaos,
The Doors,
The Fugs,
Lower 48,
A Certain Ratio,
Pantaleimon,
Heavy D & The Boyz,
8 Eyed Spy,
Ultra Naté,
Surgeon,
Eric B and Rakim,
the Association,
Scan 7,
Charles Mingus,
Alice Coltrane,
Nick Cave & The Bad Seeds,
ABBA,
The Velvet Underground,
The Slackers,
Jacques Brel,
Dorothy Ashby,
Robert Wyatt,
Gerry Rafferty,
The Smiths,
The West Coast Pop Art Experimental Band,
Gil Scott-Heron and Jamie xx,
Ossler, Ossler, Ossler, Ossler.
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.