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 Rwanda and from Houston.
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 1973.
I'm losing my edge.
To all the kids in Jakarta and Copenhagen.
I'm losing my edge to the art-school Shanghai 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Fela Kuti to the techno 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 Crime. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every Can record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
The Cure,
the Human League,
Lou Christie,
the Swans,
Pet Shop Boys,
The J.B.'s,
Swans,
DNA,
Richard Hell and the Voidoids,
Liaisons Dangereuses,
the Normal,
Lalo Schifrin,
Darondo,
Iggy Pop,
Pharaoh Sanders and the Fire Engines,
Sun City Girls,
K-Klass,
Peter Gordon & Love of Life Orchestra,
48th St. Collective,
Main Source,
Henry Cow,
Cybotron,
Drive Like Jehu,
The Kinks,
Mark Hollis,
Black Sheep,
Fugazi,
Camouflage,
Second Layer,
ABC,
Beasts of Bourbon,
Godley & Creme,
Gil Scott Heron,
The Human League,
Don Cherry,
Scion,
Thinking Fellers Union Local 282,
Nation of Ulysses,
Rhythm & Sound,
Jeff Mills,
Soul II Soul,
Brass Construction,
Flash Fearless,
Dual Sessions,
Roy Ayers,
Black Moon,
The Dave Clark Five,
Kurtis Blow,
Flipper,
Ultravox,
X-Ray Spex,
Dave Gahan,
Dead Boys,
Lonnie Liston Smith,
Gian Franco Pienzio,
Mandrill,
Television Personalities,
JFA,
Siglo XX,
Pussy Galore,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.