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 Kazakhstan and from Stockholm.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
I'm losing my edge to the art-school Tehran 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 theremin sounds with much patience.
I was there when Donald Fagen 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 Jesper Dahlbäck to the electroclash 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 The Smiths. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every Connie Case record on German import.
I heard that you have a white label of every seminal rock 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pussy Galore,
Mo-Dettes,
Minny Pops,
Isaac Hayes,
Outsiders,
The Modern Lovers,
Fela Kuti,
Amazonics,
Bizarre Inc.,
Japan,
Wolf Eyes,
The Smiths,
Stockholm Monsters,
Brass Construction,
Zero Boys,
The Blues Magoos,
Ultravox,
Nation of Ulysses,
The Associates,
Ajijia Myrayebe,
Robert Görl,
Kings Of Tomorrow,
Television,
Sly & The Family Stone,
Stereo Dub,
Kenny Larkin,
Flash Fearless,
The Toasters,
Magma,
Bush Tetras,
Marcia Griffiths,
Jerry Gold Smith,
Hasil Adkins,
Sam Rivers,
Soft Cell,
Art Ensemble Of Chicago,
Kango’s Stein Massive,
The Slits,
Eve St. Jones,
Marc Almond,
Sun Ra Arkestra,
London Community Gospel Choir,
La Düsseldorf,
Camouflage,
June Days,
Radiopuhelimet,
Gregory Isaacs,
Mr. Review,
Kerri Chandler,
The Index,
Eddi Front,
Brick,
MDC,
The Move,
Derrick Morgan,
Super Lover Cee & Casanova Rud,
Chrome,
The Zeros,
Gerry Rafferty,
Charles Mingus,
China Crisis,
The Victims, The Victims, The Victims, The Victims.
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.