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 Switzerland and from Shanghai.
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 Cairo and Madrid.
I'm losing my edge to the art-school Manchester 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 chamberlin 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 the Swans to the funk kids.
I played it at CBGB's.
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 The Slits. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Panda Bear record on German import.
I heard that you have a white label of every seminal grime 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 a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lindisfarne,
Cluster,
Black Moon,
Siglo XX,
The Slits,
The Beau Brummels,
Angels of Light & Akron/Family,
The Residents,
Blancmange,
Khruangbin,
kango's stein massive,
Radio Birdman,
R.M.O.,
Bad Manners,
World's Most,
The Barracudas,
Franke,
Stereo Dub,
Sound Behaviour,
Wire,
Con Funk Shun,
Kas Product,
Boogie Down Productions,
Spandau Ballet,
Electric Prunes,
Beasts of Bourbon,
Brass Construction,
Pere Ubu,
Donny Hathaway,
Magazine,
The Star Department,
Big Daddy Kane,
One Last Wish,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Glambeats Corp.,
Cymande,
Nas,
Mark Hollis,
The Golliwogs,
The Dead C,
the Soft Cell,
Quando Quango,
Tommy Roe,
Howard Jones,
Black Flag,
Roxy Music,
Susan Cadogan,
Marc Almond,
Sticky Fingaz feat. Raekwon,
KRS-One,
Neu!,
Camberwell Now,
Super Lover Cee & Casanova Rud,
The Zeros,
Sun Ra,
Warsaw,
Depeche Mode,
Whodini,
Arab on Radar,
Roy Ayers Ubiquity,
X-101, X-101, X-101, X-101.
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.