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 Montenegro and from Columbus.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Spokane and Shanghai.
I'm losing my edge to the art-school Lille 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the linndrum 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 Louis and Bebe Barron to the funk kids.
I played it at the Hacienda.
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 Glambeats Corp.. All the underground hits.
All Chrome tracks. I heard you have a vinyl of every The Trojans record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Seeds,
Eric B and Rakim,
Hardrive,
The Doors,
Joy Division,
Soft Cell,
Lindisfarne,
The Dead C,
The Gladiators,
Robert Wyatt,
Tears for Fears,
Mary Jane Girls,
Circle Jerks,
Justin Hinds & The Dominoes,
Section 25,
The Wake,
Brick,
Vladislav Delay,
Model 500,
Prince Buster,
Bauhaus,
Larry & the Blue Notes,
Lalo Schifrin,
Marine Girls,
Inner City,
Fifty Foot Hose,
ABC,
Danielle Patucci,
Black Bananas,
Yaz,
Jesper Dahlback,
Soft Machine,
John Coltrane,
Throbbing Gristle,
The Beau Brummels,
Minutemen,
Barrington Levy,
Outsiders,
Rosa Yemen,
Delta 5,
John Lydon,
Magazine,
Dorothy Ashby,
Technova,
UT,
Laurel Aitken,
Gian Franco Pienzio,
Clear Light,
kango's stein massive,
The Litter,
Morten Harket,
Adolescents,
Fear,
Flash Fearless,
Japan,
Kool Moe Dee,
Index,
The Evens,
Liliput,
Liaisons Dangereuses,
Electric Prunes,
Albert Ayler,
Stetsasonic,
Rapeman, Rapeman, Rapeman, Rapeman.
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.