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 Palau and from Bologna.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Winnipeg.
I'm losing my edge to the art-school Philadelphia 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 marimba 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 Human League to the funk 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 Delta 5. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal crunk 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 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Roger Hodgson,
Ossler,
This Heat,
Sam Rivers,
Lou Christie,
The Busters,
The Sound,
Lee Hazlewood,
The Golliwogs,
Motorama,
The Selecter,
Aural Exciters,
Hot Snakes,
Gil Scott Heron,
Barbara Tucker,
Jimmy McGriff,
Ten City,
Vainqueur,
Rhythm & Sound,
Country Teasers,
Bush Tetras,
Goldenarms,
Toni Rubio,
Gian Franco Pienzio,
Joe Smooth,
Max Romeo,
The Dead C,
Reagan Youth,
Trumans Water,
Gil Scott-Heron & Brian Jackson,
U.S. Maple,
Donald Byrd,
Spoonie Gee,
Robert Wyatt,
Maurizio,
Magazine,
The Pop Group,
Black Flag,
Ronan,
Warren Ellis,
Index,
Tom Boy,
Funky Four + One,
Nico,
Jesper Dahlbäck,
The Martian,
Eric B and Rakim,
Joe Finger,
the Sonics,
The Royal Family And The Poor,
Rosa Yemen,
Drive Like Jehu,
Cecil Taylor,
Radio Birdman,
Connie Case,
Gang Starr,
Harpers Bizarre,
Kenny Larkin,
Minnie Riperton,
Pylon,
Bob Dylan,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.