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 Antigua and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1978.
I'm losing my edge.
To all the kids in New York and Woodstock.
I'm losing my edge to the art-school Columbus 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 Robert Palmer 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 Andrew Ashong & Theo Parrish to the funk 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 Eric B and Rakim. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Orchestral Manoeuvres in the Dark,
Ronnie Foster,
Depeche Mode,
Boredoms,
Harry Pussy,
KRS-One,
F. McDonald,
Swans,
Kenny Larkin,
Bob Dylan,
Khruangbin,
Moebius,
Country Teasers,
Sight & Sound,
The Buckinghams,
Sugar Minott,
Technova,
Röyhkä ja Rättö ja Lehtisalo,
Masters at Work,
Marcia Griffiths,
John Cale,
Soft Machine,
The Sound,
Aloha Tigers,
MC5,
Television Personalities,
Basic Channel,
a-ha,
Mr. Review,
Loose Ends,
The Searchers,
Sunsets and Hearts,
Jacques Brel,
Jesper Dahlback,
Popol Vuh,
Visage,
Zero Boys,
The Motions,
Unwound,
Mark Hollis,
The Sisters of Mercy,
Kevin Saunderson,
Intrusion,
Bush Tetras,
The Fuzztones,
The Jesus and Mary Chain,
Ultra Naté,
The Grass Roots,
Minutemen,
Yaz,
DJ Sneak,
Brand Nubian,
Camouflage,
Rites of Spring,
Major Organ And The Adding Machine,
Rowland S Howard / Lydia Lunch,
Rhythm & Sound,
Black Moon,
PIL,
Joey Negro,
Josef K,
The Leaves,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.