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 Belgium and from Seoul.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Columbus and Halifax.
I'm losing my edge to the art-school New York 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 1971 at the first Neu! practice in a loft in Düsseldorf.
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 the Slits to the grunge 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 The United States of America. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Barry Ungar 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
Gichy Dan,
Super Lover Cee & Casanova Rud,
The Royal Family And The Poor,
Susan Cadogan,
Interpol,
Public Image Ltd.,
Pharaoh Sanders and the Fire Engines,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Trojans,
Pet Shop Boys,
the Germs,
Carl Craig,
Intrusion,
The Jesus and Mary Chain,
Grey Daturas,
Inner City,
Bobbi Humphrey,
Mars,
Delta 5,
Sexual Harrassment,
Youth Brigade,
Absolute Body Control,
Lafayette Afro Rock Band,
Section 25,
Piero Umiliani,
Average White Band,
Q and Not U,
The Mummies,
Curtis Mayfield,
The Litter,
Banda Bassotti,
The Selecter,
The Buckinghams,
Gil Scott-Heron and Jamie xx,
Gian Franco Pienzio,
The Fall,
cv313,
The Victims,
Suburban Knight,
Drive Like Jehu,
Dual Sessions,
MDC,
Siouxsie and the Banshees,
Danielle Patucci,
Lyres,
Crispian St. Peters,
Chris & Cosey,
Röyhkä ja Rättö ja Lehtisalo,
Public Enemy,
Kenny Larkin,
World's Most,
Tim Buckley,
The Mighty Diamonds,
Sugar Minott,
Groovy Waters,
Isaac Hayes,
Joey Negro,
Soul Sonic Force,
Qualms,
Art Ensemble Of Chicago,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.