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 Korea South and from Houston.
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 1970.
I'm losing my edge.
To all the kids in Mumbai and Shanghai.
I'm losing my edge to the art-school Bremen 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 Nile Rodgers 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 Kauko Röyhkä ja Narttu to the rock kids.
I played it at the Roxy.
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 Bobby Hutcherson. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Quantec record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Iggy Pop 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?
Glenn Branca,
Joe Smooth,
The West Coast Pop Art Experimental Band,
Deadbeat,
Black Sheep,
Arthur Verocai,
The Busters,
Qualms,
Quadrant,
Brass Construction,
Flipper,
The J.B.'s,
The Raincoats,
Magazine,
Pagans,
Alison Limerick,
The Mojo Men,
Bootsy Collins,
Model 500,
Dead Boys,
Robert Görl,
Blake Baxter,
Minnie Riperton,
Donald Byrd,
Audionom,
the Bar-Kays,
Sonic Youth,
Procol Harum,
Masters at Work,
Skarface,
The United States of America,
The Human League,
Thee Headcoats,
Kayak,
The Dirtbombs,
Goldenarms,
Sixth Finger,
Bobby Hutcherson,
John Coltrane,
Minor Threat,
Amon Düül II,
Reuben Wilson,
Nico,
The Modern Lovers,
The Vogues,
Althea and Donna,
The Seeds,
In Retrospect,
John Foxx,
The Tremeloes,
OOIOO,
Dennis Brown,
Zero Boys,
Basic Channel,
Newcleus,
K-Klass,
The Walker Brothers,
Wighnomy Brothers & Robag Wruhme,
Rekid,
Quantec,
Zapp,
John Cale,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.