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 Israel and from Sao Paulo.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Paris and Salvador.
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 arpeggiator 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 the Human League to the techno 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 Steve Hackett. All the underground hits.
All The Cosmic Jokers tracks. I heard you have a vinyl of every Pharoah Sanders 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 '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Altered Images,
Bizarre Inc.,
Ash Ra Tempel,
The Black Dice,
Lucky Dragons,
Kango’s Stein Massive,
The Velvet Underground,
Ultra Naté,
Ronnie Foster,
Maleditus Sound,
Rufus Thomas,
Rowland S Howard / Lydia Lunch,
Justin Hinds & The Dominoes,
Unwound,
Slave,
Archie Shepp,
Zapp,
Nils Olav,
Chris & Cosey,
Graham Central Station,
Avey Tare & Kría Brekkan,
Derrick May,
Be Bop Deluxe,
James White and The Blacks,
Fear,
Black Pus,
The Mighty Diamonds,
Josef K,
the Slits,
Rotary Connection,
Slick Rick,
T.S.O.L.,
Alison Limerick,
The Doors,
Fluxion,
Pere Ubu,
Magma,
Second Layer,
Das Ding,
cv313,
Amon Düül,
Sonic Youth,
The Martian,
Bobby Womack,
Lalo Schifrin,
Organ,
Eddi Front,
Barrington Levy,
MDC,
The Gap Band,
Stockholm Monsters,
Colin Newman,
Country Joe & The Fish,
Robert Hood,
The American Breed,
Con Funk Shun,
Notorious Big And Bone Thugs,
Dawn Penn,
Ken Boothe,
Wire,
The Cramps,
Eyeless In Gaza,
Urselle,
The Knickerbockers,
Section 25, Section 25, Section 25, Section 25.
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.