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 Peru and from Hong Kong.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Portland and Milan.
I'm losing my edge to the art-school Hong Kong 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Fortunes 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 Sound Behaviour. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every The Red Krayola 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 '90s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Al Stewart record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Delta 5,
Absolute Body Control,
Barrington Levy,
FM Einheit,
Aaron Thompson,
Dual Sessions,
The Motions,
Gil Scott-Heron & Brian Jackson,
The Victims,
Kauko Röyhkä ja Narttu,
Lee Hazlewood,
Sonny Sharrock,
Michelle Simonal,
Radio Birdman,
The New Christs,
Main Source,
Echospace,
Moby Grape,
Roxette,
Sly & The Family Stone,
Brick,
Derrick Morgan,
The J.B.'s,
Ossler,
Alison Limerick,
Flamin' Groovies,
Lindisfarne,
Easy Going,
Saccharine Trust,
New Order,
Scott Walker + Sunn O))),
The Tremeloes,
Marcia Griffiths,
Arcadia,
Excepter,
Dead Boys,
The Fortunes,
Charles Mingus,
Ultra Naté,
Stetsasonic,
The Blues Magoos,
Country Teasers,
Robert Görl,
Boz Scaggs,
Country Joe & The Fish,
The Wake,
Intrusion,
Crash Course in Science,
Zero Boys,
Sandy B,
Porter Ricks,
Urselle,
Clear Light,
Lizzy Mercier Descloux,
Flash Fearless,
Monolake,
Colin Newman,
The Fall,
The Selecter, The Selecter, The Selecter, The Selecter.
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.