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 Saudi Arabia and from Tokyo.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1964 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Shanghai.
I'm losing my edge to the art-school Hong Kong 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Aswad to the rap kids.
I played it at the Troubador.
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 Jeff Mills. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
Gary Puckett & The Union Gap,
Vaughan Mason & Crew,
Tim Buckley,
Model 500,
the Normal,
Masters at Work,
Sexual Harrassment,
Von Mondo,
Siouxsie and the Banshees,
Thinking Fellers Union Local 282,
Aural Exciters,
In Retrospect,
Nils Olav,
Organ,
Howard Jones,
Soulsonic Force,
Tom Boy,
Swell Maps,
Sight & Sound,
Jeff Lynne,
Erasure,
Mary Jane Girls,
DJ Sneak,
Slick Rick,
Al Stewart,
Mandrill,
Derrick May,
Scratch Acid,
Vainqueur,
Pulsallama,
Brothers Johnson,
Barry Ungar,
Gerry Rafferty,
Goldenarms,
The Motions,
Charles Mingus,
Strawberry Alarm Clock,
Sex Pistols,
Eddi Front,
Captain Beefheart & His Magic Band,
Oblivians,
Kevin Saunderson,
Section 25,
The Skatalites,
Bobbi Humphrey,
Freddie Wadling,
B.T. Express,
Moss Icon,
Albert Ayler,
X-Ray Spex,
Dr. Dre and Snoop Doggy Dog,
the Sonics,
Kas Product,
Marvin Gaye,
Audionom,
Blossom Toes,
Glambeats Corp.,
Jandek,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.