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 Fiji and from Spokane.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Jakarta and Tehran.
I'm losing my edge to the art-school Columbus 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 Bad Manners to the dance kids.
I played it at the Crocodile.
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 Mad Mike. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every The Grass Roots record on German import.
I heard that you have a white label of every seminal crunk 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 clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Pierre Henry,
Gil Scott-Heron & Brian Jackson,
David Axelrod,
Michelle Simonal,
Dark Day,
Delta 5,
Marine Girls,
Siglo XX,
the Soft Cell,
Goldenarms,
Peter & Gordon,
Deutsch Amerikanische Freundschaft,
Mary Jane Girls,
Althea and Donna,
Bobby Sherman,
Minutemen,
These Immortal Souls,
Pole,
Black Sheep,
The Dead C,
Peter Gordon & Love of Life Orchestra,
Al Stewart,
Gang Gang Dance,
The Men They Couldn't Hang,
ABC,
La Düsseldorf,
Kings Of Tomorrow,
John Lydon,
The Doors,
DJ Sneak,
Teenage Jesus and the Jerks,
E-Dancer,
Avey Tare & Kría Brekkan,
Eric Copeland,
Isaac Hayes,
The Young Rascals,
The Moody Blues,
Major Organ And The Adding Machine,
The Index,
Ken Boothe,
Wolf Eyes,
Art Ensemble Of Chicago,
Q and Not U,
Desert Stars,
Severed Heads,
Deadbeat,
Lungfish,
Tres Demented,
Yazoo,
Joy Division,
Bush Tetras,
Excepter,
X-102,
The Divine Comedy,
The Music Machine,
Babytalk,
Donny Hathaway,
Notorious BIG live in Amsterdam,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.