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 Afghanistan and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1977.
I'm losing my edge.
To all the kids in London and Jakarta.
I'm losing my edge to the art-school Lyon 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 808 sounds with much patience.
I was there when Holger Czukay 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 Chrome to the dance 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 Mars. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every The Gladiators record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
The Martian,
Dr. Dre and Snoop Doggy Dog,
Sex Pistols,
Fear,
Aswad,
Warren Ellis,
Chrome,
Nas,
Mandrill,
The Cure,
Teenage Jesus and the Jerks,
Richard Hell and the Voidoids,
LL Cool J,
Todd Rundgren,
Throbbing Gristle,
MC5,
T. Rex,
The Real Kids,
Scrapy,
Steve Hackett,
Joyce Sims,
Harpers Bizarre,
Röyhkä ja Rättö ja Lehtisalo,
Roger Hodgson,
Oneida,
Deakin,
Scott Walker,
Visionaries,LMNO, T- Love & Iriscience,
Heaven 17,
Desert Stars,
H. Thieme,
The Star Department,
Cameo,
the Bar-Kays,
Major Organ And The Adding Machine,
Monks,
Parry Music,
Ajijia Myrayebe,
Scientists,
Sonny Sharrock,
Ken Boothe,
Selector Dub Narcotic,
Prince Buster,
The Fuzztones,
Qualms,
Connie Case,
Infiniti,
Grey Daturas,
Gian Franco Pienzio,
Eddi Front,
Deutsch Amerikanische Freundschaft,
Soft Cell,
London Community Gospel Choir,
Brass Construction,
Roxette,
David Axelrod,
Sly & The Family Stone,
Quantec,
Magma,
The Last Poets,
Y Pants,
Index, Index, Index, Index.
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.