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 Tonga and from Accra.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Halifax and Bologna.
I'm losing my edge to the art-school Tokyo 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 mellotron 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 Nick Cave & The Bad Seeds to the jazz 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 Motorama. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every The Buckinghams record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a 808 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 theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Neu!,
Juan Atkins,
Sam Rivers,
Boredoms,
Arthur Verocai,
Liaisons Dangereuses,
K-Klass,
The Electric Prunes,
Joyce Sims,
The Tremeloes,
Spandau Ballet,
Hasil Adkins,
Theoretical Girls,
The Royal Family And The Poor,
Traffic Nightmare,
Sight & Sound,
Audionom,
Thee Headcoats,
Urselle,
The Beau Brummels,
Lafayette Afro Rock Band,
Sad Lovers and Giants,
Wally Richardson,
Oppenheimer Analysis,
Gil Scott-Heron & Brian Jackson,
Scratch Acid,
KRS-One,
Alphaville,
cv313,
Skarface,
Jeff Mills,
Cluster,
Pharoah Sanders,
Gichy Dan,
Royal Trux,
Scientists,
Stiv Bators,
Angry Samoans,
John Cale,
Throbbing Gristle,
Soul Sonic Force,
Moebius,
Röyhkä ja Rättö ja Lehtisalo,
The Happenings,
Echospace,
Peter & Gordon,
La Düsseldorf,
Arab on Radar,
Gil Scott-Heron and Jamie xx,
Anakelly,
Los Fastidios,
Unwound,
Dorothy Ashby,
Hashim,
Half Japanese,
Dead Boys,
Tomorrow,
Make Up,
The Sound, The Sound, The Sound, The Sound.
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.