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 New Zealand and from Edmonton.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Stockholm.
I'm losing my edge to the art-school Milan 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 theremin 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 Magazine to the punk 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 Hashim. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
OOIOO,
Alice Coltrane,
Kings Of Tomorrow,
The Alarm Clocks,
The Fuzztones,
Throbbing Gristle,
Zero Boys,
Bush Tetras,
Bizarre Inc.,
The Dead C,
Underground Resistance,
Ituana,
Animal Collective,
Black Flag,
The Victims,
Richard Hell and the Voidoids,
Reagan Youth,
Aaron Thompson,
Panda Bear,
Teenage Jesus and the Jerks,
Röyhkä ja Rättö ja Lehtisalo,
E-Dancer,
Thinking Fellers Union Local 282,
The Five Americans,
Letta Mbulu,
Jerry's Kids,
Rhythm & Sound,
Black Pus,
Fifty Foot Hose,
Donny Hathaway,
Art Ensemble Of Chicago,
London Community Gospel Choir,
Soul Sonic Force,
The Red Krayola,
Strawberry Alarm Clock,
Sound Behaviour,
Rod Modell,
Kango’s Stein Massive,
The Moleskins,
Goldenarms,
Yusef Lateef,
Half Japanese,
Jerry Gold Smith,
the Normal,
Amon Düül,
Hashim,
Whodini,
Oblivians,
Todd Terry,
Ohio Players,
Model 500,
Yazoo,
Bauhaus,
The Move,
The Fugs,
Eric Copeland,
The Moody Blues,
Althea and Donna,
Rowland S Howard / Lydia Lunch,
Little Man, Little Man, Little Man, Little Man.
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.