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 Bangladesh and from Copenhagen.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Salvador and Copenhagen.
I'm losing my edge to the art-school Mumbai 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 oboe sounds with much patience.
I was there when Lou Reed 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 Fortunes to the electroclash kids.
I played it at the Astoria.
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 Ultimate Spinach. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Talk Talk record on German import.
I heard that you have a white label of every seminal electroclash 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 arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Drive Like Jehu,
Spoonie Gee,
Neil Young & Crazy Horse,
U.S. Maple,
Public Enemy,
Bobby Byrd,
Susan Cadogan,
Tim Buckley,
Television,
Camberwell Now,
Lizzy Mercier Descloux,
10cc,
Pussy Galore,
Beasts of Bourbon,
Isaac Hayes,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Gichy Dan,
Organ,
Thee Headcoats,
Graham Central Station,
Curtis Mayfield,
Johnny Clarke,
The Buckinghams,
Cymande,
Joe Smooth,
Tommy Roe,
Big Daddy Kane,
Sam Rivers,
Flash Fearless,
The Red Krayola,
Rowland S Howard / Lydia Lunch,
Bizarre Inc.,
Kool G Rap & DJ Polo,
Spandau Ballet,
Harmonia,
Soft Cell,
The Names,
AZ,
Traffic Nightmare,
Warren Ellis,
Ultra Naté,
Fifty Foot Hose,
Brothers Johnson,
Cal Tjader,
Rufus Thomas,
James White and The Blacks,
Stockholm Monsters,
Josef K,
Jerry's Kids,
Adolescents,
the Human League,
Cybotron,
Eli Mardock,
Soulsonic Force,
Cecil Taylor,
Magma,
Juan Atkins,
Henry Cow,
JFA,
Half Japanese,
the Slits, the Slits, the Slits, the Slits.
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.