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 Iceland and from Portland.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1962 to 1974.
I'm losing my edge.
To all the kids in Milan and Beijing.
I'm losing my edge to the art-school Calgary 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 chamberlin 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 The Pop Group to the rap 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 The Shadows of Knight. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every LL Cool J record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba 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 Walker Brothers,
The Music Machine,
Circle Jerks,
Model 500,
Pantaleimon,
Boz Scaggs,
Lower 48,
Dual Sessions,
Porter Ricks,
Nick Cave & The Bad Seeds,
The Sisters of Mercy,
Amon Düül II,
Danielle Patucci,
Eric Dolphy,
James Chance & The Contortions,
Ultra Naté,
Fort Wilson Riot,
Urselle,
Art Ensemble Of Chicago,
Richard Hell and the Voidoids,
Boredoms,
Rakim,
Lightning Bolt,
Chrome,
Silicon Teens,
Wire,
The Searchers,
Alphaville,
Lindisfarne,
Andrew Ashong & Theo Parrish,
Roger Hodgson,
These Immortal Souls,
Ash Ra Tempel,
Jacques Brel,
Sällskapet,
Mary Jane Girls,
Sun City Girls,
Qualms,
Vaughan Mason & Crew,
Theoretical Girls,
Moby Grape,
The Knickerbockers,
Jeru the Damaja,
Mo-Dettes,
The Star Department,
the Normal,
The Gladiators,
Dave Gahan,
Fela Kuti,
Soul Sonic Force,
Notorious BIG live in Amsterdam,
The Black Dice,
Underground Resistance,
Gichy Dan,
the Bar-Kays,
The Kinks,
T. Rex,
Amon Düül,
Peter and Kerry,
This Heat,
Tropical Tobacco,
Orchestral Manoeuvres in the Dark,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.