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 Samoa and from Bologna.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Taipei and Lagos.
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 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 Lou Reed 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 Sandy B to the rap 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 Boz Scaggs. All the underground hits.
All Television tracks. I heard you have a vinyl of every Jeff Mills record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scientists,
Fat Boys,
Amon Düül II,
Thee Headcoats,
Sound Behaviour,
The Saints,
Joe Finger,
Kerri Chandler,
Roger Hodgson,
Selector Dub Narcotic,
The Gladiators,
The Leaves,
Faust,
Amazonics,
Television,
The Monks,
The Trojans,
Deepchord,
Carl Craig,
June of 44,
Eurythmics,
Piero Umiliani,
Grandmaster Flash and the Furious Five,
Alphaville,
Minny Pops,
Hashim,
Ultimate Spinach,
Erasure,
Pussy Galore,
The Blackbyrds,
Ornette Coleman,
Jawbox,
Ralphi Rosario,
Kurtis Blow,
Yazoo,
Metal Thangz,
Wally Richardson,
The Slackers,
The United States of America,
Black Moon,
Los Fastidios,
The Red Krayola,
X-102,
Mad Mike,
Pylon,
The Remains,
Orchestral Manoeuvres in the Dark,
Sly & The Family Stone,
Kerrie Biddell,
It's A Beautiful Day,
Liliput,
Panda Bear,
Rhythm & Sound,
Junior Murvin,
Soft Cell,
Kool G Rap & DJ Polo,
The Doors,
Grey Daturas,
Technova,
The Stooges,
Goldenarms, Goldenarms, Goldenarms, Goldenarms.
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.