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 Micronesia and from Copenhagen.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Halifax and Columbus.
I'm losing my edge to the art-school Madrid 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Searchers to the grunge 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 John Foxx. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Ituana record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Rotary Connection record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
Chris & Cosey,
Art Ensemble Of Chicago,
The Offenders,
The Skatalites,
Lee Hazlewood,
The Zeros,
Soulsonic Force,
Orchestral Manoeuvres in the Dark,
Teenage Jesus and the Jerks,
Audionom,
The Dave Clark Five,
Heaven 17,
The Litter,
Lou Reed,
Nick Fraelich,
The Sisters of Mercy,
Monolake,
La Düsseldorf,
Gil Scott-Heron & Brian Jackson,
Manfred Mann's Earth Band,
Icehouse,
Funkadelic,
Siouxsie and the Banshees,
Alison Limerick,
Wire,
The Move,
Lalo Schifrin,
Barclay James Harvest,
Sarah Menescal,
Radiopuhelimet,
Gang Gang Dance,
The Young Rascals,
The Evens,
Gian Franco Pienzio,
Bill Near,
Bizarre Inc.,
Porter Ricks,
It's A Beautiful Day,
The Moody Blues,
Alton Ellis,
De La Soul & Jungle Brothers,
The Mojo Men,
Justin Hinds & The Dominoes,
The Peanut Butter Conspiracy,
Hot Snakes,
Avey Tare & Kría Brekkan,
Traffic Nightmare,
Minnie Riperton,
Country Teasers,
Hoover,
The Residents,
Chris Corsano,
The Five Americans,
Eyeless In Gaza,
Robert Görl,
Brand Nubian,
Echospace,
Josef K,
The Techniques,
Vaughan Mason & Crew,
Malaria!,
Notorious Big And Bone Thugs,
The Monks, The Monks, The Monks, The Monks.
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.