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 Tonga and from Shanghai.
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 1970.
I'm losing my edge.
To all the kids in Bremen and London.
I'm losing my edge to the art-school Bremen 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 1973 at the first Television practice in a loft in New York.
I was working on the synthesizer 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 Barry Ungar to the techno kids.
I played it at the Astoria.
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 Japan. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your clarinet and bought a snare.
I hear that you and your band have sold your snare and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T. Rex,
David McCallum,
Maurizio,
cv313,
Donald Byrd,
Cluster,
Funky Four + One,
Main Source,
Fugazi,
the Germs,
Brick,
Amon Düül,
Ossler,
the Bar-Kays,
The Fire Engines,
Tears for Fears,
Dorothy Ashby,
The Move,
Pole,
Gabor Szabo,
Minutemen,
Mary Jane Girls,
The Residents,
Hardrive,
The Count Five,
Rowland S Howard / Lydia Lunch,
Charles Mingus,
The New Christs,
Fela Kuti,
Patti Smith,
Minor Threat,
Junior Murvin,
Dr. Dre and Snoop Doggy Dog,
Louis and Bebe Barron,
Harry Pussy,
Sällskapet,
the Swans,
The Pop Group,
Magazine,
The Shadows of Knight,
Lou Christie,
Newcleus,
The Walker Brothers,
Scott Walker + Sunn O))),
Crime,
Peter & Gordon,
Pussy Galore,
Simply Red,
Lou Reed,
Pharaoh Sanders and the Fire Engines,
The Red Krayola,
Bad Manners,
Alton Ellis,
Crooked Eye,
Audionom,
Monks,
Basic Channel,
Sound Behaviour,
The Cure,
Hashim,
Robert Hood,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.