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 Indonesia 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 1974.
I'm losing my edge.
To all the kids in Woodstock and Lille.
I'm losing my edge to the art-school Portland 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 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 John Lydon to the grunge 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 Walker Brothers. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every Ultramagnetic MC's record on German import.
I heard that you have a white label of every seminal rap 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Piero Umiliani,
Brass Construction,
The Gap Band,
Louis and Bebe Barron,
Reagan Youth,
Glambeats Corp.,
Scott Walker + Sunn O))),
Shuggie Otis,
Fifty Foot Hose,
Chris Corsano,
Erasure,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sandy B,
Negative Approach,
The Fall,
Camouflage,
Eve St. Jones,
The Selecter,
Brothers Johnson,
Juan Atkins,
Freddie Wadling,
Lonnie Liston Smith,
Derrick Morgan,
Pet Shop Boys,
Rowland S Howard / Lydia Lunch,
the Soft Cell,
Crash Course in Science,
The Smoke,
Scan 7,
Nils Olav,
Ronnie Foster,
Ash Ra Tempel,
Pharaoh Sanders and the Fire Engines,
Connie Case,
Spandau Ballet,
Donny Hathaway,
Manfred Mann's Earth Band,
T. Rex,
The Black Dice,
The Buckinghams,
The Detroit Cobras,
Art Ensemble Of Chicago,
Kauko Röyhkä ja Narttu,
Nico,
Con Funk Shun,
The Victims,
a-ha,
Royal Trux,
Young Marble Giants,
Eden Ahbez,
The Walker Brothers,
Sun City Girls,
The Cramps,
Joyce Sims,
Kerri Chandler,
Lou Reed & John Cale,
48th St. Collective,
Siouxsie and the Banshees,
Section 25,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.