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 Nicaragua and from Portland.
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 1974.
I'm losing my edge.
To all the kids in Winnipeg and Halifax.
I'm losing my edge to the art-school Lagos 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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer 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 Sparks to the rock 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 London Community Gospel Choir. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every Eden Ahbez record on German import.
I heard that you have a white label of every seminal dance 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 an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your guitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vaughan Mason & Crew,
Magazine,
The Pop Group,
Animal Collective,
The Black Dice,
Khruangbin,
Robert Görl,
Pharaoh Sanders and the Fire Engines,
Masters at Work,
The Names,
Crooked Eye,
Yaz,
Skriet,
Notorious BIG live in Amsterdam,
a-ha,
Dawn Penn,
Theoretical Girls,
The Jesus and Mary Chain,
Ludus,
The Remains,
Quadrant,
New Order,
Inner City,
The Detroit Cobras,
Scott Walker,
Index,
Chris & Cosey,
The Cosmic Jokers,
Bang on a Can All-Stars,
L. Decosne,
Harmonia,
Nico,
New Age Steppers,
Stetsasonic,
Sugar Minott,
Deakin,
Lakeside,
DNA,
The Gap Band,
The Count Five,
The Shadows of Knight,
Qualms,
Underground Resistance,
Barry Ungar,
Terry Callier,
Mary Jane Girls,
Ponytail,
Circle Jerks,
Eyeless In Gaza,
Black Sheep,
Sonny Sharrock,
Archie Shepp,
Camberwell Now,
Mark Hollis,
Severed Heads,
Radio Birdman,
Flipper,
Alice Coltrane,
Don Cherry,
Althea and Donna,
David Axelrod,
Jesper Dahlbäck,
Lucky Dragons,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.