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 Bolivia and from Winnipeg.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Delhi and Johannesburg.
I'm losing my edge to the art-school Calgary 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Associates 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 Bootsy Collins. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal grime 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 an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
Cymande,
B.T. Express,
Wasted Youth,
Glambeats Corp.,
Mary Jane Girls,
Pulsallama,
Gabor Szabo,
Reuben Wilson,
Nation of Ulysses,
X-Ray Spex,
Zapp,
The Mummies,
Dr. Dre and Snoop Doggy Dog,
The Fall,
Nils Olav,
Quantec,
Avey Tare & Kría Brekkan,
Can,
Tom Boy,
Suicide,
Gian Franco Pienzio,
Altered Images,
Bizarre Inc.,
Second Layer,
Ponytail,
Marc Almond,
Jerry Gold Smith,
Jeff Lynne,
Andrew Hill,
Warsaw,
The Chocolate Watch Band,
Sticky Fingaz feat. Raekwon,
Arthur Verocai,
L. Decosne,
UT,
Bluetip,
Eli Mardock,
Cheater Slicks,
Notorious BIG live in Amsterdam,
Massinfluence,
KRS-One,
Eden Ahbez,
Terrestrial Tones,
The Offenders,
Sun Ra Arkestra,
Echospace,
New Order,
Kerri Chandler,
Jerry's Kids,
Oneida,
Radio Birdman,
Gang Gang Dance,
Sonny Sharrock,
Grauzone,
Thee Headcoats,
Eric Copeland,
The J.B.'s,
Art Ensemble Of Chicago,
ABC,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.