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 Seychelles and from Delhi.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1978.
I'm losing my edge.
To all the kids in Delhi and Delhi.
I'm losing my edge to the art-school Bologna 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Popol Vuh to the dance 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 Bobby Hutcherson. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Sex Pistols 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 '80s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
Tears for Fears,
Quadrant,
Dennis Brown,
Bill Wells,
Dorothy Ashby,
Hot Snakes,
Soft Cell,
Graham Central Station,
The Dirtbombs,
Leonard Cohen,
The Toasters,
Skarface,
Eurythmics,
Swell Maps,
Magazine,
The Dave Clark Five,
Nick Fraelich,
Bang On A Can,
Archie Shepp,
Marine Girls,
Sonny Sharrock,
The Sound,
Lee Hazlewood,
Eli Mardock,
Rhythm & Sound,
Alison Limerick,
Jeru the Damaja,
Mad Mike,
Peter & Gordon,
The Monks,
Masters at Work,
Rowland S Howard / Lydia Lunch,
Qualms,
Johnny Clarke,
Minny Pops,
48th St. Collective,
Pulsallama,
Lou Reed & Metallica,
Outsiders,
Bobby Hutcherson,
Black Pus,
The Martian,
Ralphi Rosario,
Marvin Gaye,
The Gap Band,
Lebanon Hanover,
It's A Beautiful Day,
Quando Quango,
Kool Moe Dee,
Camberwell Now,
The New Christs,
Underground Resistance,
Stiv Bators,
Robert Görl,
Lyres,
The Happenings,
Blancmange,
the Slits,
Major Organ And The Adding Machine,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.