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 United Kingdom and from Copenhagen.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Manila.
I'm losing my edge to the art-school Shanghai 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 spring reverb 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 Major Organ And The Adding Machine to the dance kids.
I played it at the Crocodile.
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 Tommy Roe. All the underground hits.
All John Foxx tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal grime 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 guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Radiohead,
Justin Hinds & The Dominoes,
The Zeros,
The Gun Club,
Jeff Lynne,
Warsaw,
Black Pus,
Mars,
David Axelrod,
Deutsch Amerikanische Freundschaft,
Marmalade,
Second Layer,
Wighnomy Brothers & Robag Wruhme,
Cal Tjader,
Maurizio,
Sister Nancy,
The Blues Magoos,
Harmonia,
Hot Snakes,
Yaz,
Kurtis Blow,
The Offenders,
Urselle,
Sly & The Family Stone,
Arthur Verocai,
Procol Harum,
Camouflage,
Visionaries,LMNO, T- Love & Iriscience,
The Birthday Party,
Boogie Down Productions,
Marvin Gaye,
Public Enemy,
Alison Limerick,
Man Parrish,
Cameo,
Pere Ubu,
Pantaleimon,
Pharoah Sanders,
Minny Pops,
Godley & Creme,
James Chance & The Contortions,
Mission of Burma,
Lungfish,
Skarface,
The Searchers,
The Modern Lovers,
Joe Smooth,
John Holt,
Yusef Lateef,
Aural Exciters,
Nirvana,
Teenage Jesus and the Jerks,
Bauhaus,
The Five Americans,
K-Klass,
Janne Schatter,
Howard Jones,
Joey Negro,
Idris Muhammad,
Deepchord,
Liaisons Dangereuses,
R.M.O.,
Eli Mardock, Eli Mardock, Eli Mardock, Eli Mardock.
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.