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 Costa Rica and from Philadelphia.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Taipei and Columbus.
I'm losing my edge to the art-school Manchester 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the 808 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 MC5 to the disco kids.
I played it at Cafe Wha.
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 Kango’s Stein Massive. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Suburban Knight 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Panda Bear,
Pere Ubu,
Wally Richardson,
The United States of America,
Al Stewart,
The Detroit Cobras,
The Mighty Diamonds,
Manfred Mann's Earth Band,
the Normal,
The Royal Family And The Poor,
The Names,
Eddi Front,
The Grass Roots,
Yazoo,
Technova,
Minnie Riperton,
Curtis Mayfield,
The Cramps,
Hardrive,
Maurizio,
Bang on a Can All-Stars,
Sunsets and Hearts,
Jawbox,
Average White Band,
Kurtis Blow,
The Velvet Underground,
Deepchord,
Roy Ayers Ubiquity,
Harmonia,
Ornette Coleman,
Tom Boy,
The Monochrome Set,
Charles Mingus,
Stockholm Monsters,
Magazine,
The Pop Group,
Half Japanese,
Sly & The Family Stone,
DNA,
The Trojans,
Cecil Taylor,
Arab on Radar,
Rhythm & Sound,
Hoover,
T.S.O.L.,
The Wake,
Unwound,
kango's stein massive,
Letta Mbulu,
Terry Callier,
Little Man,
Sixth Finger,
Can,
X-102,
Skriet,
Guru Guru,
The Shadows of Knight,
Carl Craig,
Pharaoh Sanders and the Fire Engines,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.