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 Nicaragua and from Halifax.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Jakarta.
I'm losing my edge to the art-school Hong Kong 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 chamberlin 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 Vaughan Mason & Crew to the techno kids.
I played it at the Astoria.
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 Joyce Sims. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Mars record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Kaleidoscope,
L. Decosne,
Maleditus Sound,
Aaron Thompson,
Nas,
Wighnomy Brothers & Robag Wruhme,
Kings Of Tomorrow,
The Monochrome Set,
Eurythmics,
Susan Cadogan,
De La Soul & Jungle Brothers,
Hasil Adkins,
Cecil Taylor,
Scrapy,
The Birthday Party,
Sly & The Family Stone,
Gil Scott Heron,
Underground Resistance,
Fluxion,
Gang Gang Dance,
Outsiders,
Arcadia,
Marcia Griffiths,
Nirvana,
Cymande,
Motorama,
The Last Poets,
Roy Ayers,
Pole,
Radiopuhelimet,
Jawbox,
T. Rex,
Bad Manners,
The Real Kids,
Girls At Our Best!,
Traffic Nightmare,
Japan,
The J.B.'s,
Loose Ends,
The Evens,
Los Fastidios,
Peter & Gordon,
Dorothy Ashby,
The Fuzztones,
Robert Hood,
Alison Limerick,
The Flesh Eaters,
The Skatalites,
The Jesus and Mary Chain,
Soul Sonic Force,
Spoonie Gee,
The Golliwogs,
Joensuu 1685,
Joe Smooth,
Avey Tare's Slasher Flicks,
Lucky Dragons,
The Remains,
Kayak, Kayak, Kayak, Kayak.
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.