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 Solomon Islands and from Lyon.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Madrid and Tokyo.
I'm losing my edge to the art-school Mumbai 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Buzzcocks to the grime kids.
I played it at the Spitz.
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 Human League. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every X-Ray Spex 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a sitar 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 synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
Swans,
Sound Behaviour,
Tom Boy,
Lakeside,
DJ Sneak,
CMW,
L. Decosne,
Alison Limerick,
Chris & Cosey,
Morten Harket,
Joy Division,
Howard Jones,
Delta 5,
Liaisons Dangereuses,
The Chocolate Watch Band,
Vladislav Delay,
Terrestrial Tones,
Electric Light Orchestra,
Young Marble Giants,
LL Cool J,
Oneida,
The Barracudas,
Ultra Naté,
Andrew Hill,
Roy Ayers,
Skaos,
Drive Like Jehu,
Zero Boys,
cv313,
Bobby Byrd,
Reuben Wilson,
Pussy Galore,
Echospace,
Fifty Foot Hose,
Henry Cow,
The Smiths,
Sugar Minott,
Kool G Rap & DJ Polo,
Qualms,
D'Angelo,
Siglo XX,
The Dirtbombs,
The Blues Magoos,
Khruangbin,
Fluxion,
Minny Pops,
Mad Mike,
Monolake,
the Bar-Kays,
Wolf Eyes,
Marshall Jefferson,
The Sound,
Oppenheimer Analysis,
Neu!,
The Cosmic Jokers,
KRS-One,
It's A Beautiful Day,
The Fuzztones,
Echo & the Bunnymen,
Freddie Wadling,
Harmonia,
Rakim,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.