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 Brunei and from London.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and New York.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the synthesizer 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 Index to the jazz 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 DNA. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
LL Cool J,
Minnie Riperton,
Dennis Brown,
the Normal,
London Community Gospel Choir,
Marvin Gaye,
Peter and Kerry,
Saccharine Trust,
Adolescents,
Avey Tare's Slasher Flicks,
The Pop Group,
Lower 48,
DeepChord presents Echospace,
Nils Olav,
Babytalk,
Rosa Yemen,
Rufus Thomas,
Pussy Galore,
Heaven 17,
Parry Music,
the Germs,
This Heat,
Siglo XX,
The Gories,
Grandmaster Flash and the Furious Five,
The Electric Prunes,
Sunsets and Hearts,
The Motions,
Justin Hinds & The Dominoes,
Quando Quango,
Au Pairs,
Dead Boys,
Eric B and Rakim,
Barclay James Harvest,
Bobby Womack,
Outsiders,
Black Sheep,
Pete Rock & C.L. Smooth,
Stiv Bators,
Porter Ricks,
Faraquet,
Be Bop Deluxe,
Robert Hood,
The Red Krayola,
Amazonics,
Aural Exciters,
Derrick Morgan,
Quantec,
In Retrospect,
The Flesh Eaters,
The Techniques,
Pole,
Zapp,
The Cramps,
The Moleskins,
The Music Machine,
Royal Trux,
Iggy Pop,
Juan Atkins,
The Raincoats,
The Fall,
Monks,
Althea and Donna,
The Residents, The Residents, The Residents, The Residents.
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.