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 Malawi and from Spokane.
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 1971.
I'm losing my edge.
To all the kids in Halifax and Mumbai.
I'm losing my edge to the art-school Lyon 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 Zapp practice in a loft in Hamilton.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Easy Going to the electroclash 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 John Foxx. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joy Division,
Subhumans,
One Last Wish,
Gil Scott Heron,
Half Japanese,
Roy Ayers Ubiquity,
Scott Walker,
Crash Course in Science,
Jeff Mills,
Radiohead,
Radio Birdman,
Rites of Spring,
Jacques Brel,
Gang Green,
Eric B and Rakim,
Magazine,
Rahsaan Roland Kirk,
The Seeds,
Dual Sessions,
Simply Red,
Joensuu 1685,
Black Flag,
Todd Rundgren,
The Cosmic Jokers,
Marshall Jefferson,
Brand Nubian,
Eddi Front,
Sonic Youth,
Wire,
T. Rex,
Grauzone,
Essential Logic,
Lindisfarne,
Animal Collective,
Visage,
Harpers Bizarre,
Vainqueur,
Avey Tare & Kría Brekkan,
Mars,
The Invisible,
Flamin' Groovies,
Kool G Rap & DJ Polo,
Selector Dub Narcotic,
The Fortunes,
Anthony Braxton,
Kevin Saunderson,
H. Thieme,
Ohio Players,
Davy DMX,
Desert Stars,
Cybotron,
Andrew Hill,
Guru Guru,
Nick Fraelich,
Orchestral Manoeuvres in the Dark,
Public Image Ltd.,
Alton Ellis,
Stiv Bators,
Rapeman,
Throbbing Gristle,
DJ Sneak,
Lucky Dragons,
Heaven 17,
Moebius, Moebius, Moebius, Moebius.
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.