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 Jamaica and from Jakarta.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Houston and Tehran.
I'm losing my edge to the art-school Bologna 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 linndrum 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 Gang Gang Dance to the disco 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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Panda Bear tracks. I heard you have a vinyl of every The Busters 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
Lee Hazlewood,
June Days,
Gil Scott-Heron & Brian Jackson,
Moss Icon,
CMW,
Rahsaan Roland Kirk,
Severed Heads,
The Mighty Diamonds,
Sparks,
Blake Baxter,
Pole,
The Shadows of Knight,
Delta 5,
The Kinks,
The Black Dice,
Magazine,
Quadrant,
Dennis Brown,
Cabaret Voltaire,
Ralphi Rosario,
Trumans Water,
Al Stewart,
Funkadelic,
The United States of America,
Shuggie Otis,
John Foxx,
Young Marble Giants,
Godley & Creme,
Lalann,
Teenage Jesus and the Jerks,
Erasure,
cv313,
PIL,
These Immortal Souls,
The Gladiators,
Amon Düül,
Buzzcocks,
F. McDonald,
Flamin' Groovies,
Anakelly,
Patti Smith,
New Order,
Vaughan Mason & Crew,
Rowland S Howard / Lydia Lunch,
Eddi Front,
Dorothy Ashby,
David Bowie,
Lucky Dragons,
Dawn Penn,
Unrelated Segments,
It's A Beautiful Day,
Newcleus,
Qualms,
Swell Maps,
A Flock of Seagulls,
Amon Düül II,
Jeff Mills,
Sight & Sound,
Rapeman,
Cameo,
Bizarre Inc.,
Minnie Riperton,
Aswad, Aswad, Aswad, Aswad.
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.