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 Lesotho and from Lille.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Cairo and Jakarta.
I'm losing my edge to the art-school Salvador 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 chamberlin 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 Bluetip to the electroclash kids.
I played it at the Hacienda.
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 Altered Images. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every cv313 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The J.B.'s record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
Stiv Bators,
Tubeway Army,
Schoolly D,
Echospace,
Art Ensemble Of Chicago,
Throbbing Gristle,
The Grass Roots,
Robert Wyatt,
Arab on Radar,
Super Lover Cee & Casanova Rud,
Soul II Soul,
The Standells,
Kerri Chandler,
Beasts of Bourbon,
Gil Scott-Heron & Brian Jackson,
The West Coast Pop Art Experimental Band,
The Red Krayola,
Pagans,
The Men They Couldn't Hang,
Excepter,
Oblivians,
Ossler,
Bobby Womack,
Minny Pops,
Sonic Youth,
Symarip,
Anthony Braxton,
Andrew Hill,
MC5,
Gil Scott-Heron and Jamie xx,
Selector Dub Narcotic,
Motorama,
John Lydon,
Duran Duran,
Eve St. Jones,
The Stooges,
Silicon Teens,
The Blues Magoos,
Warren Ellis,
Danielle Patucci,
Mark Hollis,
Yusef Lateef,
Pantaleimon,
The Martian,
Erasure,
Richard Hell and the Voidoids,
Sandy B,
Lee Hazlewood,
Niagra,
Peter and Kerry,
Justin Hinds & The Dominoes,
Black Pus,
Nirvana,
The Five Americans,
The Dead C,
Moby Grape,
Agent Orange,
H. Thieme,
Soft Cell,
AZ,
Wolf Eyes,
Camberwell Now,
The Victims, The Victims, The Victims, The Victims.
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.