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 Togo and from Manila.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Lagos.
I'm losing my edge to the art-school Manila 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Morten Harket to the grime 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 Masters at Work. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every the Sonics 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Khruangbin,
Rhythm & Sound,
X-Ray Spex,
Livin' Joy,
Magma,
Rakim,
Accadde A,
Bobbi Humphrey,
Unwound,
A Certain Ratio,
Camouflage,
Clear Light,
The Buckinghams,
Josef K,
U.S. Maple,
The Shadows of Knight,
Sunsets and Hearts,
Throbbing Gristle,
Grauzone,
Arab on Radar,
Dave Gahan,
Lou Christie,
Stockholm Monsters,
Slick Rick,
MC5,
Barbara Tucker,
Echospace,
Underground Resistance,
The Walker Brothers,
Maleditus Sound,
Liaisons Dangereuses,
DNA,
Tres Demented,
The Last Poets,
Joy Division,
T.S.O.L.,
the Sonics,
Delta 5,
Bronski Beat,
The Moody Blues,
Lou Reed,
Suicide,
the Human League,
Black Pus,
Big Daddy Kane,
the Fania All-Stars,
Index,
Sixth Finger,
The Zeros,
Subhumans,
Lizzy Mercier Descloux,
Matthew Bourne,
Freddie Wadling,
Glambeats Corp.,
Bill Near,
Reagan Youth,
Simply Red,
The Real Kids,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.