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 Brazil and from Houston.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Johannesburg 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 Mistral practice in a loft in Amsterdam.
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 Ludus to the funk 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 Aaron Thompson. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your güiro and bought an oboe.
I hear that you and your band have sold your oboe and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
Popol Vuh,
Darondo,
Half Japanese,
Ludus,
Skaos,
James White and The Blacks,
Rowland S Howard / Lydia Lunch,
Tropical Tobacco,
The Kinks,
Jesper Dahlbäck,
Archie Shepp,
Harpers Bizarre,
OOIOO,
The Selecter,
Fort Wilson Riot,
Lee Hazlewood,
Dark Day,
Scientists,
Laurel Aitken,
Los Fastidios,
Ossler,
Pharaoh Sanders and the Fire Engines,
Gabor Szabo,
Minor Threat,
The Dead C,
Outsiders,
the Germs,
Basic Channel,
New Age Steppers,
Sex Pistols,
One Last Wish,
Dual Sessions,
Andrew Ashong & Theo Parrish,
Section 25,
Idris Muhammad,
The Black Dice,
Severed Heads,
Agitation Free,
The Happenings,
Intrusion,
Warren Ellis,
Babytalk,
The J.B.'s,
Model 500,
The Flesh Eaters,
Rufus Thomas,
John Holt,
The Vogues,
K-Klass,
The Mojo Men,
Monolake,
Lou Reed & John Cale,
Man Parrish,
Chrome,
Lyres,
Siglo XX,
Bobby Sherman,
DJ Sneak,
Sun City Girls,
The Shadows of Knight,
Gil Scott-Heron & Brian Jackson,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.