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 Finland and from Calgary.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Beijing and Lyon.
I'm losing my edge to the art-school Milan 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 808 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 Ornette Coleman to the rock kids.
I played it at the Astoria.
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 Soulsonic Force. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Pantytec 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 '90s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Suburban Knight,
Tears for Fears,
Pet Shop Boys,
Kevin Saunderson,
Lou Reed,
Severed Heads,
Traffic Nightmare,
Arab on Radar,
Deutsch Amerikanische Freundschaft,
The Litter,
Stockholm Monsters,
Ossler,
the Fania All-Stars,
The Vogues,
Graham Central Station,
Crispian St. Peters,
Eurythmics,
the Slits,
Yaz,
Nation of Ulysses,
Thinking Fellers Union Local 282,
Inner City,
Marshall Jefferson,
Beasts of Bourbon,
Electric Light Orchestra,
T.S.O.L.,
Popol Vuh,
Robert Görl,
Matthew Halsall,
The Men They Couldn't Hang,
Cal Tjader,
Clear Light,
Letta Mbulu,
Icehouse,
Dual Sessions,
Barrington Levy,
Stereo Dub,
Model 500,
Gang Green,
Infiniti,
Kauko Röyhkä ja Narttu,
A Certain Ratio,
Anthony Braxton,
Crime,
Ten City,
Amon Düül II,
Super Lover Cee & Casanova Rud,
Youth Brigade,
Unrelated Segments,
The Doors,
Niagra,
Bauhaus,
New Order,
Gang Starr,
T. Rex,
John Foxx,
Maurizio,
Public Enemy,
Dark Day,
Reuben Wilson,
Althea and Donna,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.