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 Paraguay and from Mexico City.
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 1977.
I'm losing my edge.
To all the kids in Johannesburg and Sao Paulo.
I'm losing my edge to the art-school Beijing 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 1976 at the first Chic practice in a loft in New York.
I was working on the organ 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 Tom Boy to the grime kids.
I played it at the Roxy.
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 Sight & Sound. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every Technova record on German import.
I heard that you have a white label of every seminal punk 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 linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Dark Day,
Saccharine Trust,
Terrestrial Tones,
Pharaoh Sanders and the Fire Engines,
DeepChord presents Echospace,
Amon Düül,
The United States of America,
Hardrive,
Bootsy Collins,
Röyhkä ja Rättö ja Lehtisalo,
Joensuu 1685,
X-101,
Susan Cadogan,
Pet Shop Boys,
Soulsonic Force,
Sunsets and Hearts,
The Gun Club,
Fugazi,
The Shadows of Knight,
Eden Ahbez,
Spoonie Gee,
Swans,
Pole,
Ludus,
Bobby Byrd,
Traffic Nightmare,
The Electric Prunes,
Black Sheep,
China Crisis,
Pharoah Sanders,
Sad Lovers and Giants,
Matthew Halsall,
Gary Puckett & The Union Gap,
Camouflage,
Flipper,
Juan Atkins,
Mark Hollis,
Marshall Jefferson,
The Selecter,
The Gap Band,
Brass Construction,
The Blackbyrds,
A Flock of Seagulls,
Mad Mike,
Hot Snakes,
Deakin,
Loose Ends,
Sun Ra Arkestra,
Lakeside,
John Cale,
Stockholm Monsters,
Japan,
Vladislav Delay,
Skarface,
Delon & Dalcan,
Amon Düül II,
The Martian,
Steve Hackett,
Soft Cell,
Agitation Free,
The Cure,
Masters at Work,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.