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 Albania and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1970.
I'm losing my edge.
To all the kids in Johannesburg and Edmonton.
I'm losing my edge to the art-school Lille 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 oboe 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 The Divine Comedy to the disco 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 Angels of Light & Akron/Family. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Banda Bassotti record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba 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 Names,
Juan Atkins,
Smog,
Second Layer,
Peter Gordon & Love of Life Orchestra,
Pierre Henry,
DeepChord presents Echospace,
Half Japanese,
Whodini,
Amon Düül II,
Eli Mardock,
Con Funk Shun,
Terrestrial Tones,
Don Cherry,
Super Lover Cee & Casanova Rud,
Cal Tjader,
Mo-Dettes,
John Lydon,
Mandrill,
Television,
Rekid,
Underground Resistance,
The Seeds,
Black Moon,
a-ha,
Jeff Mills,
Clear Light,
Motorama,
Wire,
Soft Cell,
Absolute Body Control,
Delta 5,
Crime,
The Victims,
Fear,
Sällskapet,
Khruangbin,
Prince Buster,
Pharoah Sanders,
Glambeats Corp.,
Mark Hollis,
The Last Poets,
Stereo Dub,
Lebanon Hanover,
The United States of America,
The Cosmic Jokers,
The Monks,
the Fania All-Stars,
The Mighty Diamonds,
Lou Reed & John Cale,
K-Klass,
Sixth Finger,
Lalo Schifrin,
Das Ding,
R.M.O.,
The Human League,
Public Enemy,
June Days,
the Soft Cell,
Procol Harum,
Jacques Brel,
The Divine Comedy,
Letta Mbulu,
Yellowson, Yellowson, Yellowson, Yellowson.
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.