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 Germany and from Seoul.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Shanghai.
I'm losing my edge to the art-school Hong Kong 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Erasure 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 Gastr Del Sol. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every Derrick May 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 '70s cut and another box set from the '70s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Barracudas record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
the Normal,
Arthur Verocai,
Lee Hazlewood,
Amazonics,
Justin Hinds & The Dominoes,
Duran Duran,
New Order,
Pharaoh Sanders and the Fire Engines,
EPMD,
Marshall Jefferson,
Crispian St. Peters,
Grey Daturas,
Jacques Brel,
Yusef Lateef,
The Invisible,
The Monks,
Jandek,
Donald Byrd,
Cabaret Voltaire,
The Count Five,
The Birthday Party,
Jesper Dahlback,
Moby Grape,
Nik Kershaw,
The West Coast Pop Art Experimental Band,
Blake Baxter,
Japan,
The Busters,
Patti Smith,
James Chance & The Contortions,
The Dead C,
James White and The Blacks,
Roy Ayers Ubiquity,
The Moleskins,
48th St. Collective,
Aswad,
The Index,
The Real Kids,
Flash Fearless,
Marc Almond,
Jeff Lynne,
Young Marble Giants,
Sun City Girls,
Danielle Patucci,
Subhumans,
Rowland S Howard / Lydia Lunch,
Fatback Band,
The Raincoats,
T. Rex,
Gil Scott Heron,
Susan Cadogan,
Deepchord,
Girls At Our Best!,
John Foxx,
Stockholm Monsters,
Tommy Roe,
The Fall,
Motorama,
Easy Going,
Ituana,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.