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 Syria and from Columbus.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Manchester and Hong Kong.
I'm losing my edge to the art-school Portland 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 güiro 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 Pussy Galore to the electroclash 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 Audionom. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every The Names 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 '70s cut and another box set from the '90s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
Harpers Bizarre,
Sixth Finger,
Jesper Dahlbäck,
Glenn Branca,
Dorothy Ashby,
Radio Birdman,
Skarface,
Fear,
Roy Ayers,
EPMD,
Terror Squad Feat. Camron,
Howard Jones,
Tears for Fears,
Metal Thangz,
Sexual Harrassment,
Malaria!,
London Community Gospel Choir,
Saccharine Trust,
Magma,
Audionom,
Orchestral Manoeuvres in the Dark,
Maurizio,
Minnie Riperton,
The Grass Roots,
Lee Hazlewood,
Grandmaster Flash,
Carl Craig,
Kool Moe Dee,
Aural Exciters,
Chrome,
Visage,
Desert Stars,
Clear Light,
Altered Images,
Massinfluence,
Bizarre Inc.,
Yazoo,
The Smiths,
Intrusion,
Banda Bassotti,
John Coltrane,
Arthur Verocai,
Nation of Ulysses,
James White and The Blacks,
Jimmy McGriff,
Bobby Sherman,
The Wake,
Masters at Work,
Circle Jerks,
Sun City Girls,
KRS-One,
In Retrospect,
Model 500,
Qualms,
Scratch Acid,
Agent Orange,
David McCallum,
the Sonics,
Section 25,
Rakim, Rakim, Rakim, Rakim.
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.