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 Finland and from Delhi.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and London.
I'm losing my edge to the art-school Jakarta 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 Throbbing Gristle practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Stereo Dub to the rock kids.
I played it at the Astoria.
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 Susan Cadogan. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Lungfish record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Eric B and Rakim,
Kings Of Tomorrow,
The Raincoats,
The Seeds,
Arthur Verocai,
Cluster,
Larry & the Blue Notes,
Robert Wyatt,
Dave Gahan,
Harpers Bizarre,
Thompson Twins,
Steve Hackett,
Section 25,
Moebius,
The Fire Engines,
The Blackbyrds,
Kango’s Stein Massive,
LL Cool J,
Nick Cave & The Bad Seeds,
Lonnie Liston Smith,
U.S. Maple,
the Soft Cell,
Big Daddy Kane,
Ultramagnetic MC's,
DNA,
The Music Machine,
Make Up,
Donny Hathaway,
the Human League,
Todd Rundgren,
Sixth Finger,
Banda Bassotti,
The Modern Lovers,
Leonard Cohen,
David Axelrod,
Massinfluence,
Echospace,
Ohio Players,
Gang Green,
Rhythim Is Rhythim,
Minnie Riperton,
the Normal,
World's Most,
John Cale,
Notorious Big And Bone Thugs,
Jawbox,
Colin Newman,
Lalann,
Jerry's Kids,
The Fuzztones,
Marc Almond,
Black Pus,
Quando Quango,
Todd Terry,
The Tremeloes,
New Age Steppers,
The Star Department,
Judy Mowatt,
These Immortal Souls,
The Smiths,
The Gap Band,
Jeff Lynne, Jeff Lynne, Jeff Lynne, Jeff Lynne.
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.