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 South Sudan and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Mexico City.
I'm losing my edge to the art-school Glasgow 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 E-Dancer to the punk kids.
I played it at the Hacienda.
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 Sunsets and Hearts. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell 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?
Juan Atkins,
Kas Product,
Fat Boys,
Terrestrial Tones,
Dr. Dre and Snoop Doggy Dog,
X-102,
Bobby Hutcherson,
Television,
E-Dancer,
Sad Lovers and Giants,
Kaleidoscope,
Heavy D & The Boyz,
Rosa Yemen,
Main Source,
Half Japanese,
the Normal,
Little Man,
Sly & The Family Stone,
The Sisters of Mercy,
Lizzy Mercier Descloux,
Motorama,
Freddie Wadling,
Hasil Adkins,
Howard Jones,
Aaron Thompson,
Darondo,
KRS-One,
Magazine,
Iggy Pop,
the Slits,
Smog,
Duran Duran,
Oblivians,
Groovy Waters,
Sticky Fingaz feat. Raekwon,
Sugar Minott,
Tommy Roe,
Gian Franco Pienzio,
Los Fastidios,
The Cure,
Gastr Del Sol,
Barry Ungar,
Can,
Letta Mbulu,
Flash Fearless,
Graham Central Station,
the Bar-Kays,
Stiv Bators,
Unrelated Segments,
Slave,
PIL,
Traffic Nightmare,
Althea and Donna,
The Royal Family And The Poor,
Deepchord,
Amon Düül II,
Absolute Body Control,
Ten City,
Todd Rundgren,
Anakelly,
Man Parrish,
Visionaries,LMNO, T- Love & Iriscience,
Eve St. Jones,
the Germs, the Germs, the Germs, the Germs.
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.