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 Switzerland and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
I'm losing my edge to the art-school Bologna 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 synthesizer 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 Sparks to the techno kids.
I played it at the Hacienda.
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 Lindisfarne. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Brothers Johnson 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 '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Silicon Teens,
Eli Mardock,
Lou Reed & Metallica,
Gastr Del Sol,
Robert Wyatt,
Ultramagnetic MC's,
Funkadelic,
Smog,
Dr. Dre and Snoop Doggy Dog,
Stereo Dub,
Visionaries,LMNO, T- Love & Iriscience,
John Foxx,
Monks,
Faust,
Strawberry Alarm Clock,
Isaac Hayes,
Lucky Dragons,
Banda Bassotti,
Severed Heads,
Peter & Gordon,
Susan Cadogan,
Johnny Osbourne,
Glenn Branca,
Tres Demented,
Mantronix,
Siouxsie and the Banshees,
The Move,
Cal Tjader,
Robert Hood,
La Düsseldorf,
The Barracudas,
Freddie Wadling,
David McCallum,
Ronan,
Magazine,
ABC,
8 Eyed Spy,
MDC,
Morten Harket,
Janne Schatter,
Deutsch Amerikanische Freundschaft,
The J.B.'s,
Mary Jane Girls,
Nik Kershaw,
The Smiths,
the Swans,
Derrick Morgan,
The Toasters,
The West Coast Pop Art Experimental Band,
Sun Ra Arkestra,
Soft Machine,
Throbbing Gristle,
DJ Style,
Make Up,
John Lydon,
Brass Construction,
The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers.
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.