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 China and from Winnipeg.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Columbus and Jakarta.
I'm losing my edge to the art-school Tokyo 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the clarinet sounds with much patience.
I was there when Robert Palmer 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 Aaron Thompson 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 Nils Olav. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Alphaville 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Newcleus record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ituana,
Grauzone,
Mary Jane Girls,
The Fall,
Susan Cadogan,
Bobby Sherman,
Mad Mike,
Quantec,
The Neon Judgement,
Matthew Halsall,
Ten City,
Jerry Gold Smith,
Stiv Bators,
Juan Atkins,
Marmalade,
The Pretty Things,
The West Coast Pop Art Experimental Band,
Sällskapet,
Black Pus,
Sun City Girls,
Section 25,
Liliput,
Fugazi,
Max Romeo,
Circle Jerks,
The Tremeloes,
Aloha Tigers,
Eric B and Rakim,
Aural Exciters,
The Gap Band,
Subhumans,
Tom Boy,
Qualms,
Barclay James Harvest,
Eli Mardock,
Idris Muhammad,
Steve Hackett,
the Slits,
Ralphi Rosario,
Trumans Water,
Mr. Review,
U.S. Maple,
Darondo,
Janne Schatter,
Bill Near,
Newcleus,
Tubeway Army,
The Mighty Diamonds,
Lyres,
The Chocolate Watch Band,
Ornette Coleman,
Soft Cell,
The Human League,
Spoonie Gee,
Chris Corsano,
The Pop Group,
The Standells,
Japan,
Theoretical Girls,
The Slackers,
The Skatalites,
Suicide,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.