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 Uruguay and from Mumbai.
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 1973.
I'm losing my edge.
To all the kids in Seoul and London.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the oboe sounds with much patience.
I was there when Lou Reed 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 Velvet Underground to the grime kids.
I played it at the Troubador.
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 Anthony Braxton. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
Kaleidoscope,
K-Klass,
Marcia Griffiths,
Electric Light Orchestra,
Inner City,
The Men They Couldn't Hang,
Theoretical Girls,
Soft Cell,
Sunsets and Hearts,
Joyce Sims,
Fear,
Pole,
This Heat,
T. Rex,
Neu!,
Donny Hathaway,
Electric Prunes,
Bush Tetras,
Darondo,
Duran Duran,
Deakin,
Gregory Isaacs,
The Dirtbombs,
Zero Boys,
Derrick Morgan,
Yaz,
Ronnie Foster,
Juan Atkins,
Yusef Lateef,
Bootsy Collins,
Bronski Beat,
Popol Vuh,
Adolescents,
Circle Jerks,
EPMD,
Barrington Levy,
Scrapy,
Rufus Thomas,
Mr. Review,
Rhythm & Sound,
The Offenders,
Idris Muhammad,
Rosa Yemen,
Harry Pussy,
Loose Ends,
Jesper Dahlbäck,
Tomorrow,
Jawbox,
The Fuzztones,
The Raincoats,
Schoolly D,
June Days,
10cc,
Metal Thangz,
Aural Exciters,
The Tremeloes,
Mary Jane Girls,
Black Bananas,
Lucky Dragons,
Piero Umiliani,
Camouflage,
Neil Young,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.