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 Oman and from Tokyo.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
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 1973 at the first Television practice in a loft in New York.
I was working on the 808 sounds with much patience.
I was there when Robert Palmer 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 The Pop Group to the jazz 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 Louis and Bebe Barron. All the underground hits.
All Suburban Knight tracks. I heard you have a vinyl of every Neil Young record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
Warren Ellis,
Japan,
Robert Wyatt,
Marshall Jefferson,
the Soft Cell,
The Names,
Kauko Röyhkä ja Narttu,
Brothers Johnson,
Unwound,
Suicide,
Kaleidoscope,
Sight & Sound,
Underground Resistance,
Moby Grape,
a-ha,
Strawberry Alarm Clock,
Deutsch Amerikanische Freundschaft,
Minor Threat,
Sunsets and Hearts,
Red Lorry Yellow Lorry,
Eddi Front,
Art Ensemble Of Chicago,
Yazoo,
Terror Squad Feat. Camron,
Soft Cell,
Todd Terry,
Manfred Mann's Earth Band,
Fear,
Man Eating Sloth,
Suburban Knight,
Scratch Acid,
Bob Dylan,
One Last Wish,
The Cowsills,
Kool G Rap & DJ Polo,
The Tremeloes,
Arthur Verocai,
Gang Gang Dance,
The Cramps,
The Slits,
Siouxsie and the Banshees,
Erasure,
Tom Boy,
Hashim,
Jawbox,
The Skatalites,
Subhumans,
China Crisis,
The Young Rascals,
New York Dolls,
The Human League,
Babytalk,
Nation of Ulysses,
The Smiths,
Yusef Lateef,
Slave,
Gastr Del Sol,
Brand Nubian,
The Alarm Clocks,
Cecil Taylor,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.