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 Monaco and from Lagos.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Copenhagen.
I'm losing my edge to the art-school New York 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 mellotron 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 Jeru the Damaja 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 Thompson Twins. All the underground hits.
All Mo-Dettes tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet 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?
Warsaw,
Nils Olav,
Darondo,
The Index,
Reagan Youth,
Kool Moe Dee,
This Heat,
the Slits,
Jimmy McGriff,
The Cosmic Jokers,
Soft Cell,
Tomorrow,
Throbbing Gristle,
Lou Christie,
Lindisfarne,
Gang Starr,
Fluxion,
Mad Mike,
Wings,
Lou Reed,
Ten City,
Joensuu 1685,
Nico,
Sällskapet,
Zapp,
UT,
Half Japanese,
The Smoke,
Carl Craig,
The Star Department,
Ultimate Spinach,
Kerri Chandler,
The Jesus and Mary Chain,
Boogie Down Productions,
Eurythmics,
the Human League,
Sun Ra Arkestra,
Traffic Nightmare,
Mary Jane Girls,
Joe Smooth,
Rapeman,
Lee Hazlewood,
The Red Krayola,
Sugar Minott,
Q and Not U,
The Fugs,
Bang On A Can,
Deepchord,
Bill Near,
Piero Umiliani,
Mo-Dettes,
Oppenheimer Analysis,
Procol Harum,
The Misunderstood,
Matthew Bourne,
Alice Coltrane,
Roxy Music,
The Smiths,
The Blackbyrds,
Schoolly D,
Fugazi,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.