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 Taiwan and from Mumbai.
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 1979.
I'm losing my edge.
To all the kids in Bremen and Sao Paulo.
I'm losing my edge to the art-school Johannesburg 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Patti Smith to the dance kids.
I played it at the 40 Watt.
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 The Divine Comedy. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Patti Smith 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
Nirvana,
Dark Day,
Tim Buckley,
Jeru the Damaja,
Crooked Eye,
Sad Lovers and Giants,
Chris & Cosey,
Tears for Fears,
Delta 5,
Davy DMX,
The Shadows of Knight,
Ornette Coleman,
Bobby Womack,
Scientists,
The Neon Judgement,
Chrome,
Quantec,
The Remains,
Groovy Waters,
Kool G Rap & DJ Polo,
Dennis Brown,
Moss Icon,
Nation of Ulysses,
Strawberry Alarm Clock,
Radiohead,
Rod Modell,
The Count Five,
Reuben Wilson,
Justin Hinds & The Dominoes,
Mark Hollis,
Richard Hell and the Voidoids,
Organ,
The Human League,
Camron Feat. Memphis Bleek And Beenie Seigel,
Delon & Dalcan,
Banda Bassotti,
Aloha Tigers,
Schoolly D,
Von Mondo,
Warsaw,
Stiv Bators,
Ituana,
Pet Shop Boys,
Sound Behaviour,
Magazine,
Anthony Braxton,
Minnie Riperton,
Scrapy,
Talk Talk,
Slick Rick,
Lou Reed & John Cale,
Matthew Halsall,
Mantronix,
Alice Coltrane,
A Certain Ratio,
Ralphi Rosario,
John Cale,
Art Ensemble Of Chicago,
Deepchord,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.