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 Mozambique and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Paris and Lille.
I'm losing my edge to the art-school London 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 808 sounds with much patience.
I was there when Holger Czukay 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 Popol Vuh to the dance kids.
I played it at the Troubador.
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 Sight & Sound. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Black Pus 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 '60s cut and another box set from the '70s.
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 Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
Don Cherry,
the Association,
Talk Talk,
Cymande,
the Normal,
Black Pus,
Albert Ayler,
Todd Terry,
The Barracudas,
A Certain Ratio,
Crash Course in Science,
Buzzcocks,
Leonard Cohen,
Rotary Connection,
The Gladiators,
Boogie Down Productions,
Ludus,
Eurythmics,
Alphaville,
Tropical Tobacco,
Schoolly D,
The Gun Club,
Anthony Braxton,
Nas,
Sun Ra,
The Young Rascals,
Supertramp,
Gil Scott-Heron & Brian Jackson,
Country Teasers,
Soft Cell,
Max Romeo,
Rahsaan Roland Kirk,
Mission of Burma,
The Cowsills,
Strawberry Alarm Clock,
June of 44,
The Shadows of Knight,
Avey Tare & Kría Brekkan,
Ultramagnetic MC's,
Eyeless In Gaza,
The Dave Clark Five,
Saccharine Trust,
The Flesh Eaters,
Los Fastidios,
Brothers Johnson,
Kango’s Stein Massive,
Bush Tetras,
Gregory Isaacs,
Technova,
Judy Mowatt,
Cybotron,
Model 500,
Roxy Music,
Drexciya,
The Invisible,
Hardrive,
Marshall Jefferson,
Section 25,
Parry Music,
The Chocolate Watch Band,
The Red Krayola, The Red Krayola, The Red Krayola, The Red Krayola.
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.