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 Togo and from Johannesburg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Johannesburg.
I'm losing my edge to the art-school Manchester 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 theremin 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 Bush Tetras to the electroclash kids.
I played it at the 40 Watt.
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 Amon Düül. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every 8 Eyed Spy record on German import.
I heard that you have a white label of every seminal dance 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 güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
David Axelrod,
Sad Lovers and Giants,
Fort Wilson Riot,
World's Most,
Boz Scaggs,
U.S. Maple,
The West Coast Pop Art Experimental Band,
Aural Exciters,
Bootsy Collins,
The Last Poets,
Surgeon,
Eddi Front,
The Neon Judgement,
Tubeway Army,
Sight & Sound,
Marmalade,
Isaac Hayes,
Joe Smooth,
Smog,
Nick Fraelich,
Faraquet,
Q65,
Lou Reed & John Cale,
Sugar Minott,
L. Decosne,
Lindisfarne,
Jeff Lynne,
Soulsonic Force,
Lungfish,
In Retrospect,
The Walker Brothers,
The Zeros,
Althea and Donna,
Bobby Byrd,
Chris & Cosey,
Oblivians,
Brick,
Deakin,
X-102,
Scratch Acid,
The Happenings,
Pantaleimon,
Fugazi,
The Black Dice,
Black Bananas,
Cybotron,
Public Enemy,
Nick Cave & The Bad Seeds,
a-ha,
Country Teasers,
Gary Puckett & The Union Gap,
Sun City Girls,
X-Ray Spex,
Jandek,
Public Image Ltd.,
John Holt,
The Mojo Men,
Ronan,
Iggy Pop,
Wasted Youth,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.