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 Sri Lanka and from Manila.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1973.
I'm losing my edge.
To all the kids in Seoul and Portland.
I'm losing my edge to the art-school Sao Paulo 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 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 The Real Kids to the grunge kids.
I played it at CBGB's.
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 MC5. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Rufus Thomas record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
Barbara Tucker,
The Techniques,
Chris & Cosey,
Faraquet,
The Neon Judgement,
Mantronix,
8 Eyed Spy,
Drexciya,
Marine Girls,
Electric Light Orchestra,
Eric B and Rakim,
Lizzy Mercier Descloux,
The Martian,
Pylon,
Man Parrish,
Drive Like Jehu,
Frankie Knuckles,
Porter Ricks,
Stetsasonic,
Janne Schatter,
Crooked Eye,
Soft Machine,
Kango’s Stein Massive,
Joe Finger,
the Association,
Jimmy McGriff,
Robert Görl,
Brothers Johnson,
Spandau Ballet,
Roy Ayers Ubiquity,
Television Personalities,
The Dirtbombs,
Jerry's Kids,
Kings Of Tomorrow,
Soft Cell,
Jeff Lynne,
Cecil Taylor,
Minor Threat,
Bobbi Humphrey,
Barrington Levy,
Pantaleimon,
Orchestral Manoeuvres in the Dark,
Sly & The Family Stone,
Fela Kuti,
Talk Talk,
The Raincoats,
Deadbeat,
Q and Not U,
Das Ding,
Pere Ubu,
Qualms,
Sister Nancy,
Gang of Four,
Soul II Soul,
Sexual Harrassment,
Whodini,
Ken Boothe,
The Electric Prunes,
The Cowsills,
Simply Red,
Lafayette Afro Rock Band,
Rites of Spring,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.