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 Rwanda and from Portland.
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 1960 to 1973.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school Jakarta 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the arpeggiator 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 Wally Richardson to the dance 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 Sad Lovers and Giants. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Howard Jones 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boz Scaggs,
Soul Sonic Force,
Pete Rock & C.L. Smooth,
Lou Reed & Metallica,
Oblivians,
Brass Construction,
Susan Cadogan,
Cybotron,
The Selecter,
The Misunderstood,
Gastr Del Sol,
The Happenings,
Matthew Bourne,
Sight & Sound,
The Leaves,
Morten Harket,
Manfred Mann's Earth Band,
Deepchord,
Anthony Braxton,
Porter Ricks,
Rod Modell,
Alphaville,
Rahsaan Roland Kirk,
Kings Of Tomorrow,
Bob Dylan,
Black Pus,
Scientists,
Wolf Eyes,
Justin Hinds & The Dominoes,
Arthur Verocai,
Alton Ellis,
The Beau Brummels,
Yusef Lateef,
Sly & The Family Stone,
Dorothy Ashby,
Scratch Acid,
Roxy Music,
Nick Fraelich,
Gerry Rafferty,
Kool G Rap & DJ Polo,
Massinfluence,
Moebius,
This Heat,
Jacob Miller,
Kango’s Stein Massive,
Model 500,
Maurizio,
Freddie Wadling,
Monks,
One Last Wish,
A Certain Ratio,
the Sonics,
the Germs,
The Star Department,
Soulsonic Force,
Howard Jones,
Cabaret Voltaire,
The Five Americans,
Marc Almond,
Ronnie Foster,
Super Lover Cee & Casanova Rud,
Thompson Twins,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.