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 Luxembourg and from Tokyo.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Halifax and Bremen.
I'm losing my edge to the art-school Delhi 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the snare 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 AZ to the disco kids.
I played it at the 40 Watt.
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 Rowland S Howard / Lydia Lunch. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Cymande record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson 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?
Kings Of Tomorrow,
Yellowson,
Unrelated Segments,
Minor Threat,
Kerrie Biddell,
Echo & the Bunnymen,
Easy Going,
Cabaret Voltaire,
World's Most,
Reuben Wilson,
The Dirtbombs,
Kango’s Stein Massive,
Guru Guru,
The Martian,
Saccharine Trust,
kango's stein massive,
Ronan,
Notorious BIG live in Amsterdam,
Sly & The Family Stone,
The Mummies,
Gary Puckett & The Union Gap,
Steve Hackett,
Slave,
The Monochrome Set,
Crispian St. Peters,
Aloha Tigers,
Oneida,
Lafayette Afro Rock Band,
Avey Tare,
Larry & the Blue Notes,
48th St. Collective,
Jerry Gold Smith,
Outsiders,
Man Eating Sloth,
Marc Almond,
Kaleidoscope,
Model 500,
Big Daddy Kane,
Pantytec,
Matthew Halsall,
Pylon,
The Gun Club,
The Human League,
Todd Terry,
R.M.O.,
Jandek,
Grauzone,
Sugar Minott,
Bush Tetras,
Con Funk Shun,
Loose Ends,
The Red Krayola,
Marshall Jefferson,
Don Cherry,
Funkadelic,
Rahsaan Roland Kirk,
Lyres,
Gichy Dan,
Radiopuhelimet,
Japan,
Joy Division,
Lindisfarne,
Subhumans, Subhumans, Subhumans, Subhumans.
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.