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 Cambodia and from Tehran.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Milan.
I'm losing my edge to the art-school Woodstock 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 cv313 to the jazz kids.
I played it at the Roxy.
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 Brick tracks. I heard you have a vinyl of every Bob Dylan record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Aswad,
Rhythm & Sound,
It's A Beautiful Day,
Marshall Jefferson,
Adolescents,
Iggy Pop,
Neil Young & Crazy Horse,
The Walker Brothers,
Theoretical Girls,
The Fugs,
Nas,
Eric Dolphy,
The Men They Couldn't Hang,
Pantaleimon,
Beasts of Bourbon,
Rapeman,
Glenn Branca,
Bobby Womack,
The Smiths,
Rhythim Is Rhythim,
Slave,
Excepter,
Porter Ricks,
Boredoms,
London Community Gospel Choir,
Minutemen,
Davy DMX,
The Knickerbockers,
The Monks,
Bluetip,
Avey Tare,
Kauko Röyhkä ja Narttu,
Gerry Rafferty,
Gil Scott-Heron & Brian Jackson,
Ornette Coleman,
The United States of America,
Fluxion,
E-Dancer,
Duran Duran,
Black Flag,
The Fall,
Mars,
Heavy D & The Boyz,
The Blues Magoos,
The Grass Roots,
Electric Light Orchestra,
James White and The Blacks,
The Martian,
Grandmaster Flash and the Furious Five,
the Sonics,
Connie Case,
The Divine Comedy,
Gil Scott Heron,
Y Pants,
Isaac Hayes,
Pharaoh Sanders and the Fire Engines,
Groovy Waters,
Eurythmics,
Tommy Roe,
Kas Product,
Laurel Aitken,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.