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 Romania and from Copenhagen.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Accra and Stockholm.
I'm losing my edge to the art-school Salvador 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 sitar 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 Major Organ And The Adding Machine to the electroclash kids.
I played it at CBGB's.
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 Tommy Roe. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every The Cramps 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
The Evens,
Ken Boothe,
Dark Day,
the Germs,
Echo & the Bunnymen,
Matthew Halsall,
Eli Mardock,
Faust,
Grandmaster Flash and the Furious Five,
Underground Resistance,
Neu!,
The Blackbyrds,
Man Parrish,
A Certain Ratio,
Michelle Simonal,
Ralphi Rosario,
Kerri Chandler,
Excepter,
Trumans Water,
Max Romeo,
Mars,
Magma,
Nation of Ulysses,
Spandau Ballet,
Ituana,
John Holt,
Procol Harum,
FM Einheit,
Amazonics,
Shuggie Otis,
Nik Kershaw,
Minny Pops,
Byron Stingily,
Reuben Wilson,
ABBA,
E-Dancer,
The J.B.'s,
The Standells,
Marshall Jefferson,
The Detroit Cobras,
Slave,
Crash Course in Science,
the Association,
Kevin Saunderson,
Eddi Front,
Rites of Spring,
Gerry Rafferty,
Franke,
The Residents,
Richard Hell and the Voidoids,
Skriet,
Judy Mowatt,
Traffic Nightmare,
Rhythim Is Rhythim,
The Royal Family And The Poor,
Chrome,
The New Christs,
Little Man,
Quadrant, Quadrant, Quadrant, Quadrant.
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.