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 Mongolia and from Cairo.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
I'm losing my edge to the art-school Portland 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the linndrum 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 Soft Cell to the jazz kids.
I played it at the Astoria.
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 Tomorrow. All the underground hits.
All The Dirtbombs tracks. I heard you have a vinyl of every Lindisfarne 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 '70s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Gian Franco Pienzio,
Half Japanese,
Oblivians,
Pharaoh Sanders and the Fire Engines,
La Düsseldorf,
Skaos,
The Names,
Bootsy's Rubber Band,
Wings,
Andrew Ashong & Theo Parrish,
Deutsch Amerikanische Freundschaft,
The Young Rascals,
Todd Terry,
Sly & The Family Stone,
Malaria!,
Marc Almond,
Chris Corsano,
Rosa Yemen,
The Dave Clark Five,
Nick Fraelich,
Animal Collective,
Crash Course in Science,
Buzzcocks,
This Heat,
the Slits,
Mantronix,
The Barracudas,
Isaac Hayes,
Notorious Big And Bone Thugs,
Soft Cell,
The Slackers,
Hashim,
Pierre Henry,
The New Christs,
the Fania All-Stars,
Aural Exciters,
Stiv Bators,
Electric Light Orchestra,
Janne Schatter,
Lebanon Hanover,
Severed Heads,
Wally Richardson,
Rotary Connection,
The Divine Comedy,
Roxette,
Lower 48,
Television Personalities,
Thompson Twins,
Derrick May,
Wighnomy Brothers & Robag Wruhme,
Outsiders,
Eddi Front,
Swell Maps,
The Sound,
Scion,
Niagra,
Nas,
Visionaries,LMNO, T- Love & Iriscience,
48th St. Collective,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.