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 Cameroon and from Mumbai.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Copenhagen.
I'm losing my edge to the art-school Bremen 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 Buzzcocks practice in a loft in Bolton.
I was working on the spring reverb 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 Kenny Larkin to the jazz kids.
I played it at the Astoria.
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 Mark Hollis. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every The Chocolate Watch Band record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Ash Ra Tempel,
Kurtis Blow,
Bad Manners,
Man Eating Sloth,
Public Enemy,
Magma,
Peter and Kerry,
Radiopuhelimet,
the Bar-Kays,
MC5,
Andrew Hill,
Camron Feat. Memphis Bleek And Beenie Seigel,
Joensuu 1685,
Ten City,
Sonic Youth,
Byron Stingily,
Slave,
Mark Hollis,
Scott Walker,
Guru Guru,
Jacques Brel,
Swell Maps,
F. McDonald,
Make Up,
Skarface,
Kas Product,
Morten Harket,
Super Lover Cee & Casanova Rud,
Charles Mingus,
Outsiders,
Sun Ra Arkestra,
The Real Kids,
Tim Buckley,
Moby Grape,
Shuggie Otis,
Eric B and Rakim,
Qualms,
Louis and Bebe Barron,
The Victims,
PIL,
Avey Tare's Slasher Flicks,
Panda Bear,
Grandmaster Flash,
Captain Beefheart & His Magic Band,
Matthew Bourne,
The Human League,
Technova,
The Zeros,
Amon Düül,
Audionom,
Das Ding,
R.M.O.,
Gil Scott-Heron and Jamie xx,
Electric Prunes,
DeepChord presents Echospace,
Barclay James Harvest,
The Standells,
Banda Bassotti,
Fat Boys,
Strawberry Alarm Clock,
Black Sheep,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.