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 Congo and from Salvador.
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 1971.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school Stockholm 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 marimba 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 Marc Almond to the techno kids.
I played it at the Troubador.
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 Alison Limerick. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Echospace 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 '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Isaac Hayes,
Avey Tare's Slasher Flicks,
Althea and Donna,
Lungfish,
Sam Rivers,
Technova,
Michelle Simonal,
The Fire Engines,
Peter & Gordon,
The Alarm Clocks,
Oblivians,
Terry Callier,
Eyeless In Gaza,
Fear,
Monolake,
Camouflage,
PIL,
Visage,
the Human League,
Josef K,
Thee Headcoats,
De La Soul & Jungle Brothers,
Intrusion,
the Normal,
Röyhkä ja Rättö ja Lehtisalo,
Hasil Adkins,
Nik Kershaw,
Sexual Harrassment,
The Happenings,
Lou Reed & John Cale,
Colin Newman,
Soul Sonic Force,
Black Bananas,
Moby Grape,
Unrelated Segments,
Bobby Hutcherson,
the Swans,
10cc,
CMW,
Ohio Players,
Janne Schatter,
Eric Copeland,
The Peanut Butter Conspiracy,
Marc Almond,
Mad Mike,
Ultra Naté,
Alphaville,
Echo & the Bunnymen,
Trumans Water,
Yellowson,
the Slits,
The Kinks,
Warren Ellis,
Quantec,
Lonnie Liston Smith,
Lalann,
The West Coast Pop Art Experimental Band,
Jawbox,
The Doors,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.