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 Ireland and from Calgary.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Portland.
I'm losing my edge to the art-school Shanghai 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 arpeggiator 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 Masters at Work to the crunk kids.
I played it at the Spitz.
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 Mark Hollis. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
Bad Manners,
Jacob Miller,
The Toasters,
Scratch Acid,
Roger Hodgson,
Lebanon Hanover,
Leonard Cohen,
Cecil Taylor,
Traffic Nightmare,
Sister Nancy,
Skarface,
Richard Hell and the Voidoids,
Flipper,
Accadde A,
The Dave Clark Five,
Symarip,
The Smiths,
Terrestrial Tones,
Bang on a Can All-Stars,
Drexciya,
Ash Ra Tempel,
Gang Starr,
Los Fastidios,
Royal Trux,
Rotary Connection,
Country Joe & The Fish,
Ultramagnetic MC's,
Kaleidoscope,
Surgeon,
Mark Hollis,
Letta Mbulu,
Connie Case,
Slick Rick,
Juan Atkins,
Masters at Work,
Darondo,
Wolf Eyes,
Eddi Front,
Public Enemy,
Crime,
Joy Division,
Eric Copeland,
Simply Red,
Mary Jane Girls,
The Cure,
Rapeman,
Stetsasonic,
Brothers Johnson,
The Human League,
Throbbing Gristle,
Theoretical Girls,
The Cosmic Jokers,
Liaisons Dangereuses,
Deepchord,
48th St. Collective,
Minnie Riperton,
These Immortal Souls,
JFA,
The Searchers,
Kenny Larkin,
the Human League,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.