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 Solomon Islands and from Paris.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Salvador.
I'm losing my edge to the art-school Hong Kong 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 snare 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 Mummies to the punk 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 The Durutti Column. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Janne Schatter record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
The West Coast Pop Art Experimental Band,
Skarface,
Barclay James Harvest,
The Fortunes,
Rosa Yemen,
Eric Copeland,
Trumans Water,
Severed Heads,
Clear Light,
Eli Mardock,
X-Ray Spex,
Lucky Dragons,
Kango’s Stein Massive,
Scott Walker + Sunn O))),
Gang Green,
Funky Four + One,
Erykah Badu,
Slave,
James Chance & The Contortions,
Major Organ And The Adding Machine,
Orchestral Manoeuvres in the Dark,
Bauhaus,
the Human League,
Accadde A,
Gil Scott-Heron and Jamie xx,
June Days,
Girls At Our Best!,
Delon & Dalcan,
Jimmy McGriff,
The Techniques,
Electric Light Orchestra,
Nirvana,
Tears for Fears,
Gabor Szabo,
Radiohead,
Cabaret Voltaire,
Warren Ellis,
The Leaves,
Glenn Branca,
Howard Jones,
AZ,
Eric B and Rakim,
The New Christs,
The Modern Lovers,
Derrick May,
Bizarre Inc.,
David Axelrod,
Michelle Simonal,
John Cale,
Isaac Hayes,
Mantronix,
Ten City,
Sun Ra Arkestra,
The Detroit Cobras,
Thee Headcoats,
Soft Machine,
Mary Jane Girls,
DeepChord presents Echospace,
Audionom,
Black Flag,
Icehouse,
Cluster, Cluster, Cluster, Cluster.
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.