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 Taiwan and from Halifax.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Cairo and Tokyo.
I'm losing my edge to the art-school Accra 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 rhodes 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 Rhythim Is Rhythim to the electroclash 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 Gastr Del Sol. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every Crispian St. Peters record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Delon & Dalcan record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Subhumans,
Be Bop Deluxe,
Aural Exciters,
Peter Gordon & Love of Life Orchestra,
The Associates,
Outsiders,
Brass Construction,
Nirvana,
Black Bananas,
Swans,
Max Romeo,
The J.B.'s,
Spandau Ballet,
the Fania All-Stars,
The Move,
Beasts of Bourbon,
Godley & Creme,
Siglo XX,
Matthew Halsall,
Davy DMX,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sex Pistols,
The Sound,
Pere Ubu,
Isaac Hayes,
Inner City,
Masters at Work,
Mad Mike,
London Community Gospel Choir,
Bad Manners,
Panda Bear,
Ultramagnetic MC's,
Nick Cave & The Bad Seeds,
The Fuzztones,
The Human League,
Rufus Thomas,
The Slackers,
The Electric Prunes,
The United States of America,
Moby Grape,
Au Pairs,
Pole,
Scan 7,
Patti Smith,
Buzzcocks,
Kango’s Stein Massive,
The Pretty Things,
The Motions,
Vainqueur,
Niagra,
Camron Feat. Jay Z And Juelz,
Lalann,
Toni Rubio,
June of 44,
Crash Course in Science,
World's Most,
Andrew Ashong & Theo Parrish,
Blancmange,
Bootsy's Rubber Band,
Bob Dylan,
the Slits, the Slits, the Slits, the Slits.
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.