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 Jordan and from London.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1968 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Sao Paulo.
I'm losing my edge to the art-school Glasgow 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 snare 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 Grauzone to the disco 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 Louis and Bebe Barron. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every The Chocolate Watch Band record on German import.
I heard that you have a white label of every seminal crunk 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 theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
DJ Style,
The Victims,
Outsiders,
De La Soul & Jungle Brothers,
The Invisible,
Circle Jerks,
Archie Shepp,
The Toasters,
Siouxsie and the Banshees,
Magazine,
R.M.O.,
Avey Tare,
The Happenings,
Gastr Del Sol,
Vladislav Delay,
A Flock of Seagulls,
F. McDonald,
Moebius,
Marvin Gaye,
Jimmy McGriff,
Marc Romboy vs. Booka Shade,
The Flesh Eaters,
Kaleidoscope,
Deadbeat,
Underground Resistance,
Section 25,
the Soft Cell,
La Düsseldorf,
Art Ensemble Of Chicago,
Agitation Free,
The Angels of Light,
Thompson Twins,
Royal Trux,
Franke,
Warren Ellis,
Brothers Johnson,
John Lydon,
Drexciya,
Frankie Knuckles,
The United States of America,
The Index,
Minnie Riperton,
Crash Course in Science,
EPMD,
Johnny Clarke,
Infiniti,
The Shadows of Knight,
Buzzcocks,
The Cowsills,
Can,
Alison Limerick,
Eden Ahbez,
Procol Harum,
Eric B and Rakim,
Boredoms,
The Golliwogs,
DNA,
The West Coast Pop Art Experimental Band,
Ten City,
Ajijia Myrayebe,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.