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 South Africa and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1970.
I'm losing my edge.
To all the kids in Bologna and Manila.
I'm losing my edge to the art-school Madrid 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 Tom Verlaine 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 Half Japanese to the grime kids.
I played it at CBGB's.
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 Clear Light. All the underground hits.
All Crooked Eye tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Patti Smith,
The Shadows of Knight,
The West Coast Pop Art Experimental Band,
The Move,
Sugar Minott,
The Index,
Mission of Burma,
E-Dancer,
Sonic Youth,
Grandmaster Flash,
Robert Hood,
Tommy Roe,
Grey Daturas,
Deutsch Amerikanische Freundschaft,
Parry Music,
The Evens,
Schoolly D,
Morten Harket,
The Remains,
Juan Atkins,
Symarip,
Fluxion,
The Slackers,
Manfred Mann's Earth Band,
Bobby Byrd,
Yazoo,
New York Dolls,
Nik Kershaw,
Ludus,
The Moody Blues,
Television,
Lou Christie,
Kool Moe Dee,
Richard Hell and the Voidoids,
The Real Kids,
Echo & the Bunnymen,
Basic Channel,
Lou Reed,
Nation of Ulysses,
Dead Boys,
Zero Boys,
Drexciya,
Radiopuhelimet,
Vladislav Delay,
Das Ding,
Gary Puckett & The Union Gap,
Altered Images,
DJ Sneak,
Rod Modell,
The Raincoats,
Rapeman,
Sound Behaviour,
Ash Ra Tempel,
Lafayette Afro Rock Band,
Camouflage,
Section 25,
Khruangbin,
Underground Resistance,
Grauzone,
Depeche Mode,
Masters at Work,
Ken Boothe,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.