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 Belarus and from Lagos.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Lagos and Mexico City.
I'm losing my edge to the art-school Houston 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 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 Black Flag to the techno 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 The Detroit Cobras. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre 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?
Tom Boy,
X-101,
Franke,
Fela Kuti,
Roy Ayers Ubiquity,
Hot Snakes,
Jerry's Kids,
Underground Resistance,
The Shadows of Knight,
Ultra Naté,
Severed Heads,
The Music Machine,
Slick Rick,
Kayak,
Easy Going,
Tubeway Army,
The Smoke,
The J.B.'s,
OOIOO,
T.S.O.L.,
Heaven 17,
Pharaoh Sanders and the Fire Engines,
Sad Lovers and Giants,
Dark Day,
These Immortal Souls,
The Neon Judgement,
Don Cherry,
The Black Dice,
Tears for Fears,
Kool Moe Dee,
The Five Americans,
H. Thieme,
Lou Reed & John Cale,
Ludus,
Supertramp,
Flash Fearless,
The Red Krayola,
Young Marble Giants,
Trumans Water,
Quando Quango,
PIL,
Chris & Cosey,
Sight & Sound,
The Leaves,
Soulsonic Force,
Peter Gordon & Love of Life Orchestra,
Reagan Youth,
Pussy Galore,
Metal Thangz,
John Coltrane,
Aswad,
Quantec,
Swans,
DJ Sneak,
The Modern Lovers,
Lakeside,
Nas,
Minny Pops,
Scott Walker,
Graham Central Station,
Eric Dolphy,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.