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 Belgium and from Paris.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Calgary and Bremen.
I'm losing my edge to the art-school Johannesburg 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 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 Liliput to the funk kids.
I played it at Trash.
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 Oppenheimer Analysis. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal techno 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 rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Order,
Pulsallama,
Jesper Dahlbäck,
The Tremeloes,
Basic Channel,
Todd Rundgren,
Scratch Acid,
K-Klass,
The Sound,
Sly & The Family Stone,
Teenage Jesus and the Jerks,
Gian Franco Pienzio,
Bang On A Can,
The West Coast Pop Art Experimental Band,
Bad Manners,
Scientists,
Soft Machine,
B.T. Express,
The Dead C,
Tommy Roe,
Negative Approach,
Visionaries,LMNO, T- Love & Iriscience,
Aaron Thompson,
Eric Copeland,
Sonny Sharrock,
Strawberry Alarm Clock,
Urselle,
Simply Red,
Minutemen,
The Saints,
The Vogues,
Mark Hollis,
Pere Ubu,
Johnny Osbourne,
Q65,
Judy Mowatt,
ABC,
Royal Trux,
Radio Birdman,
Ultramagnetic MC's,
Absolute Body Control,
Shuggie Otis,
The Selecter,
Dead Boys,
Public Enemy,
X-102,
MDC,
The Fall,
Unwound,
Matthew Halsall,
Peter Gordon & Love of Life Orchestra,
Louis and Bebe Barron,
The Alarm Clocks,
The Cowsills,
Lyres,
Vladislav Delay,
The Doors,
Drive Like Jehu,
Nik Kershaw,
Terror Squad Feat. Camron,
the Slits, the Slits, the Slits, the Slits.
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.