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 Guatemala and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Taipei and Stockholm.
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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Notorious BIG live in Amsterdam to the techno kids.
I played it at the 40 Watt.
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 Gregory Isaacs. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal techno 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 an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Mary Jane Girls,
Traffic Nightmare,
John Holt,
Funky Four + One,
Prince Buster,
Arcadia,
Laurel Aitken,
The Fuzztones,
Junior Murvin,
Grauzone,
The Peanut Butter Conspiracy,
Loose Ends,
The Sound,
Babytalk,
Chris Corsano,
The Toasters,
Sexual Harrassment,
Oneida,
The Beau Brummels,
Spoonie Gee,
Negative Approach,
Glenn Branca,
H. Thieme,
Shuggie Otis,
Gang Gang Dance,
Bobbi Humphrey,
Super Lover Cee & Casanova Rud,
DJ Sneak,
Todd Rundgren,
Aloha Tigers,
Frankie Knuckles,
Fela Kuti,
Eli Mardock,
Be Bop Deluxe,
Crispy Ambulance,
Ronnie Foster,
Tres Demented,
Ituana,
The Move,
Vaughan Mason & Crew,
Marvin Gaye,
Sight & Sound,
The Motions,
Wire,
The Zeros,
Isaac Hayes,
Dawn Penn,
Soft Machine,
Cabaret Voltaire,
Tubeway Army,
The Last Poets,
Mr. Review,
Notorious BIG live in Amsterdam,
Lou Reed & Metallica,
Funkadelic,
Sonny Sharrock,
Sandy B,
Gang Starr,
Marc Almond,
Saccharine Trust,
the Slits,
Roxette, Roxette, Roxette, Roxette.
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.