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 Cape Verde and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Tehran and Bologna.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Velvet Underground to the grime kids.
I played it at Trash.
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 Fugs. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal electroclash 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 snare and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Visage,
kango's stein massive,
The Associates,
The Beau Brummels,
Bobbi Humphrey,
Leonard Cohen,
Dead Boys,
KRS-One,
Newcleus,
Sister Nancy,
Urselle,
Harmonia,
Joy Division,
Ronnie Foster,
Q and Not U,
Minutemen,
Robert Görl,
Brass Construction,
The Fall,
The Happenings,
The Real Kids,
The Sound,
Swell Maps,
Wings,
Lucky Dragons,
Sonic Youth,
The Litter,
Eyeless In Gaza,
Moebius,
Alice Coltrane,
Freddie Wadling,
The Human League,
Tim Buckley,
Jesper Dahlbäck,
Wolf Eyes,
Rotary Connection,
Monolake,
The Buckinghams,
The United States of America,
Desert Stars,
Kas Product,
Bad Manners,
Slave,
Johnny Osbourne,
Mo-Dettes,
Rowland S Howard / Lydia Lunch,
Larry & the Blue Notes,
Ultra Naté,
Nils Olav,
Delon & Dalcan,
Magazine,
Lalo Schifrin,
Eurythmics,
Khruangbin,
Cybotron,
Arcadia,
E-Dancer,
The Moody Blues,
Crispy Ambulance,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.