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 Stockholm.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and London.
I'm losing my edge to the art-school Hong Kong 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Nik Kershaw to the techno kids.
I played it at the Hacienda.
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 Kango’s Stein Massive. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every Toni Rubio 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Stooges record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Barry Ungar,
Quando Quango,
Pere Ubu,
The Sound,
Stockholm Monsters,
Byron Stingily,
The Barracudas,
Rufus Thomas,
Bang On A Can,
Jandek,
Sarah Menescal,
Notorious BIG live in Amsterdam,
Arab on Radar,
John Coltrane,
Pantaleimon,
Manfred Mann's Earth Band,
The Dirtbombs,
Mark Hollis,
Röyhkä ja Rättö ja Lehtisalo,
The Shadows of Knight,
Nick Cave & The Bad Seeds,
The Misunderstood,
Sad Lovers and Giants,
Eve St. Jones,
Faraquet,
Avey Tare & Kría Brekkan,
Brass Construction,
Jerry Gold Smith,
Robert Hood,
Traffic Nightmare,
Bill Near,
The Selecter,
Thinking Fellers Union Local 282,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Gories,
Kayak,
The Techniques,
Prince Buster,
John Foxx,
Avey Tare,
Dave Gahan,
The Velvet Underground,
the Sonics,
The Monochrome Set,
Swell Maps,
Avey Tare's Slasher Flicks,
the Human League,
Bobbi Humphrey,
Kaleidoscope,
Steve Hackett,
New Order,
The Gap Band,
The Electric Prunes,
The Alarm Clocks,
Make Up,
Organ,
June Days,
Soul Sonic Force,
The Vogues,
Mary Jane Girls,
Bob Dylan,
The Cramps,
Excepter, Excepter, Excepter, Excepter.
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.