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 Poland and from Lagos.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Lille and Paris.
I'm losing my edge to the art-school Copenhagen 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the theremin sounds with much patience.
I was there when Captain Beefheart 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 Warren Ellis to the dance kids.
I played it at the Roxy.
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 FM Einheit. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Bronski Beat 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
Strawberry Alarm Clock,
Joe Smooth,
Skriet,
Massinfluence,
Kaleidoscope,
Essential Logic,
Eric Copeland,
Stiv Bators,
Agent Orange,
The Saints,
Robert Wyatt,
Lebanon Hanover,
Bauhaus,
Neu!,
Matthew Halsall,
Audionom,
Graham Central Station,
48th St. Collective,
Joey Negro,
Blancmange,
Khruangbin,
Johnny Clarke,
Lou Christie,
Aural Exciters,
Scion,
Gian Franco Pienzio,
Hardrive,
The Slackers,
Unwound,
Lindisfarne,
The Grass Roots,
Bang on a Can All-Stars,
Wire,
Kurtis Blow,
Pharoah Sanders,
Electric Light Orchestra,
Jimmy McGriff,
Yusef Lateef,
The Smiths,
Harpers Bizarre,
Nation of Ulysses,
Y Pants,
Dawn Penn,
Nick Fraelich,
The Trojans,
Crispy Ambulance,
Ultra Naté,
Wally Richardson,
Theoretical Girls,
Interpol,
Soft Machine,
The Pretty Things,
Vaughan Mason & Crew,
Prince Buster,
Black Bananas,
The Dirtbombs,
Bluetip,
Newcleus, Newcleus, Newcleus, Newcleus.
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.