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 India and from Shanghai.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Bremen and Stockholm.
I'm losing my edge to the art-school Philadelphia 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 arpeggiator 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 Maleditus Sound to the punk 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 Stiv Bators. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every Gil Scott Heron record on German import.
I heard that you have a white label of every seminal electroclash 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 an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Marc Almond,
Sam Rivers,
Negative Approach,
Wings,
Kings Of Tomorrow,
Eyeless In Gaza,
Spandau Ballet,
Gil Scott-Heron and Jamie xx,
Sandy B,
John Foxx,
Grey Daturas,
Chris & Cosey,
Sunsets and Hearts,
Deakin,
Aswad,
Rowland S Howard / Lydia Lunch,
World's Most,
Lower 48,
Brand Nubian,
Pussy Galore,
Hashim,
The Names,
The Peanut Butter Conspiracy,
Quando Quango,
Bobby Sherman,
Saccharine Trust,
Todd Terry,
Prince Buster,
Anthony Braxton,
Rhythm & Sound,
Sonny Sharrock,
Al Stewart,
Gil Scott Heron,
Fugazi,
Swans,
the Human League,
The Blues Magoos,
Depeche Mode,
Ituana,
Neu!,
Livin' Joy,
Urselle,
Charles Mingus,
Lonnie Liston Smith,
Marc Romboy vs. Booka Shade,
Kool Moe Dee,
Suburban Knight,
Maleditus Sound,
Pylon,
Avey Tare,
Throbbing Gristle,
Visage,
Susan Cadogan,
Gabor Szabo,
Whodini,
Eric B and Rakim,
Barbara Tucker,
FM Einheit,
Althea and Donna,
Joey Negro,
Underground Resistance,
The Happenings,
Terror Squad Feat. Camron, Terror Squad Feat. Camron, Terror Squad Feat. Camron, Terror Squad Feat. Camron.
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.