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 Nigeria and from Hong Kong.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in London and Johannesburg.
I'm losing my edge to the art-school Lyon 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 David Bowie 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 Neon Judgement to the rap kids.
I played it at the Astoria.
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 Swell Maps. All the underground hits.
All Whodini tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
Wolf Eyes,
Connie Case,
Sexual Harrassment,
Crispy Ambulance,
Negative Approach,
Amon Düül,
Boogie Down Productions,
Gil Scott-Heron and Jamie xx,
Fela Kuti,
Television,
Slave,
Harpers Bizarre,
The Leaves,
Khruangbin,
Crooked Eye,
Iggy Pop,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sun City Girls,
Nik Kershaw,
Matthew Halsall,
Don Cherry,
Unrelated Segments,
Avey Tare's Slasher Flicks,
Kas Product,
Lebanon Hanover,
The Dirtbombs,
Gian Franco Pienzio,
Jeff Lynne,
The Mighty Diamonds,
Sex Pistols,
Orchestral Manoeuvres in the Dark,
Bauhaus,
Bootsy's Rubber Band,
Barbara Tucker,
Frankie Knuckles,
Colin Newman,
UT,
The Litter,
Amazonics,
Deadbeat,
Masters at Work,
The Saints,
Girls At Our Best!,
MC5,
Lower 48,
Sunsets and Hearts,
Los Fastidios,
Visage,
Laurel Aitken,
Matthew Bourne,
Hoover,
a-ha,
the Slits,
Siglo XX,
John Coltrane,
Danielle Patucci,
Dennis Brown,
Yusef Lateef,
Bill Wells,
Fifty Foot Hose,
June Days,
The Sisters of Mercy,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.