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 Switzerland and from Tokyo.
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 1961 to 1976.
I'm losing my edge.
To all the kids in New York and Lyon.
I'm losing my edge to the art-school Cairo 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 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 Marshall Jefferson to the rap kids.
I played it at Cafe Wha.
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 Saccharine Trust. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Audionom 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 '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
Oblivians,
R.M.O.,
Slick Rick,
The Vogues,
Glambeats Corp.,
Andrew Hill,
Sound Behaviour,
Frankie Knuckles,
Rekid,
De La Soul & Jungle Brothers,
Whodini,
Sexual Harrassment,
John Coltrane,
Laurel Aitken,
Rahsaan Roland Kirk,
The Alarm Clocks,
Barclay James Harvest,
The Index,
Tom Boy,
Interpol,
Unrelated Segments,
Dead Boys,
U.S. Maple,
Lower 48,
The Mojo Men,
Peter & Gordon,
Selector Dub Narcotic,
Faraquet,
Terrestrial Tones,
Minnie Riperton,
Lou Christie,
Dorothy Ashby,
Alice Coltrane,
Ponytail,
Hoover,
Tommy Roe,
Toni Rubio,
Bronski Beat,
Livin' Joy,
Harpers Bizarre,
Mission of Burma,
The Trojans,
Gastr Del Sol,
Schoolly D,
Mary Jane Girls,
The Raincoats,
The Red Krayola,
Terror Squad Feat. Camron,
Robert Görl,
Ultra Naté,
This Heat,
Essential Logic,
The Evens,
Kerrie Biddell,
Super Lover Cee & Casanova Rud,
Mark Hollis,
Soft Cell,
Gang Starr,
Ludus, Ludus, Ludus, Ludus.
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.