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 Germany and from Columbus.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Spokane and New York.
I'm losing my edge to the art-school Seoul 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 harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Crash Course in Science to the jazz kids.
I played it at the Troubador.
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 Niagra. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Chrome 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Silicon Teens,
T. Rex,
Avey Tare's Slasher Flicks,
Siouxsie and the Banshees,
Isaac Hayes,
Public Enemy,
The Names,
Ultimate Spinach,
Heaven 17,
Flamin' Groovies,
Chrome,
Archie Shepp,
Interpol,
Soul II Soul,
R.M.O.,
Public Image Ltd.,
Roy Ayers Ubiquity,
In Retrospect,
Groovy Waters,
Ponytail,
Gang of Four,
Jimmy McGriff,
Underground Resistance,
Jeff Mills,
The Dirtbombs,
Charles Mingus,
the Germs,
Kevin Saunderson,
Massinfluence,
Circle Jerks,
The Motions,
Peter and Kerry,
Procol Harum,
Gastr Del Sol,
Radio Birdman,
Electric Prunes,
Lakeside,
Spandau Ballet,
the Swans,
Bobby Sherman,
Be Bop Deluxe,
Howard Jones,
Excepter,
Nico,
Crispy Ambulance,
James Chance & The Contortions,
Country Teasers,
OOIOO,
The Blues Magoos,
Technova,
Brand Nubian,
Vladislav Delay,
De La Soul & Jungle Brothers,
Reagan Youth,
Bobbi Humphrey,
Avey Tare,
Alton Ellis,
the Association,
Sixth Finger,
KRS-One,
Eden Ahbez,
Derrick May, Derrick May, Derrick May, Derrick May.
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.