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 Swaziland and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Lille and Edmonton.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Amazonics to the jazz kids.
I played it at the Crocodile.
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 Ash Ra Tempel. All the underground hits.
All Metal Thangz tracks. I heard you have a vinyl of every Public Image Ltd. record on German import.
I heard that you have a white label of every seminal punk 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 linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Gerry Rafferty,
the Association,
F. McDonald,
Half Japanese,
Eric Copeland,
Kerrie Biddell,
Fela Kuti,
Anthony Braxton,
Deadbeat,
Cecil Taylor,
The Cramps,
Kevin Saunderson,
John Lydon,
Dark Day,
Franke,
The Durutti Column,
Brass Construction,
Dual Sessions,
Yellowson,
Bobby Womack,
Mary Jane Girls,
Theoretical Girls,
Guru Guru,
Matthew Bourne,
Byron Stingily,
Roxette,
U.S. Maple,
Cabaret Voltaire,
Radiohead,
Nirvana,
Joe Finger,
The Blues Magoos,
Lungfish,
These Immortal Souls,
Skaos,
Sixth Finger,
Robert Hood,
Pantytec,
Cheater Slicks,
Yusef Lateef,
Lalann,
The Saints,
The Names,
The Five Americans,
T. Rex,
Manfred Mann's Earth Band,
Deutsch Amerikanische Freundschaft,
Nils Olav,
Soft Cell,
The J.B.'s,
Andrew Hill,
Dave Gahan,
Infiniti,
Scott Walker,
The Fall,
Gong,
China Crisis,
Eli Mardock, Eli Mardock, Eli Mardock, Eli Mardock.
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.