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 Micronesia and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 Bremen and Madrid.
I'm losing my edge to the art-school Shanghai 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 1976 at the first Wire practice in a loft in Watford.
I was working on the oboe 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 Cal Tjader to the grunge 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 Mary Jane Girls. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Jimmy McGriff record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Chris & Cosey,
Model 500,
Rekid,
Soulsonic Force,
Masters at Work,
Ajijia Myrayebe,
Moebius,
John Holt,
Erasure,
The J.B.'s,
Jacques Brel,
Eyeless In Gaza,
Grandmaster Flash and the Furious Five,
Black Pus,
Echo & the Bunnymen,
Red Lorry Yellow Lorry,
Man Parrish,
Boredoms,
Chrome,
Pet Shop Boys,
Supertramp,
Organ,
Ultimate Spinach,
Gichy Dan,
Grey Daturas,
Ludus,
Shoche,
Silicon Teens,
Fad Gadget,
Johnny Osbourne,
Aswad,
Negative Approach,
Bobby Womack,
Liaisons Dangereuses,
Brick,
Reuben Wilson,
It's A Beautiful Day,
Glambeats Corp.,
Steve Hackett,
The Sisters of Mercy,
Piero Umiliani,
Carl Craig,
Ossler,
Bizarre Inc.,
Juan Atkins,
Kerri Chandler,
Mary Jane Girls,
Malaria!,
Kenny Larkin,
Television Personalities,
Dual Sessions,
Quadrant,
Massinfluence,
Bauhaus,
UT,
Cymande,
Frankie Knuckles,
Max Romeo,
Kango’s Stein Massive,
Gerry Rafferty,
ABBA,
Rapeman, Rapeman, Rapeman, Rapeman.
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.