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 Montenegro and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1963 to 1974.
I'm losing my edge.
To all the kids in London and Lagos.
I'm losing my edge to the art-school Edmonton 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb 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 Pere Ubu to the techno 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 Brick. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your spring reverb and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smiths,
The Cowsills,
Grey Daturas,
Ken Boothe,
Audionom,
Yaz,
Swell Maps,
Radiopuhelimet,
The Human League,
Gabor Szabo,
Angels of Light & Akron/Family,
Marc Almond,
The Offenders,
Vainqueur,
Graham Central Station,
Loose Ends,
Notorious Big And Bone Thugs,
F. McDonald,
The Buckinghams,
Crispy Ambulance,
Los Fastidios,
Rhythim Is Rhythim,
Oppenheimer Analysis,
Eve St. Jones,
The Star Department,
Accadde A,
The Alarm Clocks,
Man Parrish,
Al Stewart,
Camberwell Now,
Sällskapet,
Monolake,
Surgeon,
Yazoo,
Deutsch Amerikanische Freundschaft,
Cal Tjader,
Jesper Dahlbäck,
Steve Hackett,
The Smoke,
Janne Schatter,
Crime,
Minny Pops,
Art Ensemble Of Chicago,
Kings Of Tomorrow,
The Slits,
The Five Americans,
Sparks,
Average White Band,
T. Rex,
London Community Gospel Choir,
Hasil Adkins,
Sly & The Family Stone,
Rakim,
Scott Walker + Sunn O))),
Major Organ And The Adding Machine,
H. Thieme,
The Stooges,
Heaven 17,
Pantaleimon,
New Order,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.