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 Estonia and from Madrid.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Halifax and Bologna.
I'm losing my edge to the art-school Mexico City 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 organ 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 Oneida to the electroclash kids.
I played it at the Roxy.
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 Robert Görl. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Scrapy record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
DJ Style,
The Martian,
Grey Daturas,
Mo-Dettes,
This Heat,
Nik Kershaw,
Blancmange,
Chris & Cosey,
Shoche,
Wasted Youth,
Livin' Joy,
Stockholm Monsters,
Quantec,
The Blackbyrds,
Prince Buster,
Skriet,
Kool G Rap & DJ Polo,
Altered Images,
Neu!,
Fugazi,
Piero Umiliani,
Thee Headcoats,
Blossom Toes,
Howard Jones,
Youth Brigade,
Anthony Braxton,
The Barracudas,
X-102,
Alison Limerick,
Tommy Roe,
Blake Baxter,
Parry Music,
Henry Cow,
Letta Mbulu,
The Detroit Cobras,
Roxy Music,
Sun Ra,
The Fire Engines,
Camouflage,
Neil Young & Crazy Horse,
Marshall Jefferson,
The Neon Judgement,
The Mummies,
Minny Pops,
Average White Band,
Bobby Hutcherson,
The Skatalites,
Sällskapet,
Roxette,
Black Moon,
Goldenarms,
Marine Girls,
The Sonics,
Lebanon Hanover,
Sandy B,
The American Breed,
Joe Smooth,
The Zeros,
Rosa Yemen,
The Human League,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.