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 Bahamas and from Beijing.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Lille and Manchester.
I'm losing my edge to the art-school Mexico City 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the marimba 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 Joyce Sims to the dance kids.
I played it at the Roxy.
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 Sex Pistols. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Dark Day 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Joensuu 1685 record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Avey Tare's Slasher Flicks,
Technova,
The Motions,
The Shadows of Knight,
Tears for Fears,
Oppenheimer Analysis,
Ornette Coleman,
Echo & the Bunnymen,
Barrington Levy,
Arthur Verocai,
The Mummies,
Donny Hathaway,
Stetsasonic,
Girls At Our Best!,
Piero Umiliani,
The Fugs,
the Human League,
Thompson Twins,
Lower 48,
Barclay James Harvest,
The Detroit Cobras,
Don Cherry,
Black Moon,
Lou Reed & Metallica,
Ultramagnetic MC's,
The United States of America,
Jeff Mills,
D'Angelo,
Alton Ellis,
Spandau Ballet,
La Düsseldorf,
Crime,
Eve St. Jones,
Wire,
Grandmaster Flash and the Furious Five,
Boredoms,
the Swans,
Warren Ellis,
Rhythm & Sound,
Spoonie Gee,
The Selecter,
Neu!,
James Chance & The Contortions,
Altered Images,
Icehouse,
The Victims,
Main Source,
Al Stewart,
Flipper,
the Soft Cell,
New York Dolls,
Mad Mike,
K-Klass,
Ash Ra Tempel,
Guru Guru,
Ultravox,
Brand Nubian,
The Electric Prunes,
Pantaleimon,
Drive Like Jehu,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.