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 Ivory Coast and from Manchester.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Beijing.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb 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 The Walker Brothers to the rap kids.
I played it at CBGB's.
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 Dorothy Ashby. All the underground hits.
All cv313 tracks. I heard you have a vinyl of every Pulsallama record on German import.
I heard that you have a white label of every seminal techno 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes 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?
Tommy Roe,
Wire,
E-Dancer,
Lightning Bolt,
The West Coast Pop Art Experimental Band,
Stiv Bators,
The Real Kids,
Radiohead,
Sam Rivers,
The Martian,
Girls At Our Best!,
Ituana,
Alice Coltrane,
The Fortunes,
Gary Puckett & The Union Gap,
John Cale,
Fear,
X-Ray Spex,
Jesper Dahlback,
Accadde A,
Porter Ricks,
Lucky Dragons,
The Tremeloes,
The Mighty Diamonds,
Harmonia,
the Bar-Kays,
Arthur Verocai,
Albert Ayler,
Arcadia,
Thinking Fellers Union Local 282,
Theoretical Girls,
Sarah Menescal,
Moss Icon,
Fad Gadget,
Blancmange,
Terrestrial Tones,
Marc Almond,
Spandau Ballet,
These Immortal Souls,
The Dirtbombs,
Selector Dub Narcotic,
Sparks,
Lebanon Hanover,
Banda Bassotti,
X-101,
Brand Nubian,
DJ Style,
Pere Ubu,
Magma,
The Electric Prunes,
Lee Hazlewood,
Terror Squad Feat. Camron,
X-102,
Trumans Water,
Circle Jerks,
Terry Callier,
Art Ensemble Of Chicago,
Talk Talk,
Mission of Burma,
The Young Rascals,
The Zeros,
The Gories,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.