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 Senegal and from Toronto.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Jakarta.
I'm losing my edge to the art-school Glasgow 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Cecil Taylor to the jazz 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 Bob Dylan. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
Lucky Dragons,
The Wake,
The Slits,
The Moleskins,
Blake Baxter,
Captain Beefheart & His Magic Band,
Bush Tetras,
Reuben Wilson,
The Index,
The Associates,
Panda Bear,
T.S.O.L.,
Loose Ends,
The Mummies,
Charles Mingus,
Throbbing Gristle,
Public Enemy,
the Slits,
Boredoms,
Deutsch Amerikanische Freundschaft,
Bootsy's Rubber Band,
AZ,
Stetsasonic,
Wire,
Heavy D & The Boyz,
Sonny Sharrock,
The J.B.'s,
Slick Rick,
Scrapy,
Bobby Byrd,
Todd Rundgren,
The Martian,
Boz Scaggs,
Ronan,
Radiopuhelimet,
Orchestral Manoeuvres in the Dark,
Tommy Roe,
Juan Atkins,
Barry Ungar,
Kenny Larkin,
Jeff Mills,
Franke,
John Lydon,
China Crisis,
Ossler,
Bob Dylan,
The Angels of Light,
Blossom Toes,
Justin Hinds & The Dominoes,
The Shadows of Knight,
Rites of Spring,
The Seeds,
Super Lover Cee & Casanova Rud,
Hasil Adkins,
Ronnie Foster,
Fat Boys,
Dark Day,
Godley & Creme, Godley & Creme, Godley & Creme, Godley & Creme.
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.