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 Bhutan and from Milan.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Taipei.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator 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 Grandmaster Flash and the Furious Five to the electroclash kids.
I played it at Cafe Wha.
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 Zapp. All the underground hits.
All The Black Dice tracks. I heard you have a vinyl of every Lou Reed & John Cale record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Maurizio record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Echospace,
Man Parrish,
Drive Like Jehu,
Bootsy Collins,
Animal Collective,
Sarah Menescal,
The Leaves,
The United States of America,
Symarip,
Main Source,
The Fortunes,
The Royal Family And The Poor,
the Germs,
Black Sheep,
John Lydon,
Minutemen,
Ituana,
The Gladiators,
Roy Ayers Ubiquity,
Bush Tetras,
Yazoo,
Con Funk Shun,
The Sonics,
Khruangbin,
Vainqueur,
Hasil Adkins,
The Zeros,
Country Teasers,
the Sonics,
Sad Lovers and Giants,
Organ,
Jeff Mills,
The Vogues,
New York Dolls,
Magma,
Barbara Tucker,
The Fire Engines,
Röyhkä ja Rättö ja Lehtisalo,
Bootsy's Rubber Band,
Joe Finger,
Ponytail,
Johnny Clarke,
the Slits,
Fort Wilson Riot,
Kaleidoscope,
Infiniti,
the Human League,
The Litter,
Nas,
Johnny Osbourne,
The Moleskins,
Strawberry Alarm Clock,
Sandy B,
Lou Christie,
Aloha Tigers,
The Kinks,
Junior Murvin,
Eden Ahbez,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.