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 Sweden and from Lille.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Spokane and Accra.
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 1973 at the first Television practice in a loft in New York.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Delta 5 to the electroclash kids.
I played it at Trash.
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 Fall. All the underground hits.
All Das Ding tracks. I heard you have a vinyl of every Zero Boys record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Golliwogs,
Steve Hackett,
Spandau Ballet,
Matthew Halsall,
Royal Trux,
MDC,
The Names,
Alton Ellis,
Amazonics,
Lee Hazlewood,
The Invisible,
Lonnie Liston Smith,
Bill Wells,
Piero Umiliani,
Porter Ricks,
Jerry Gold Smith,
U.S. Maple,
Black Bananas,
Niagra,
Davy DMX,
Warren Ellis,
Minutemen,
Deutsch Amerikanische Freundschaft,
Bob Dylan,
48th St. Collective,
Pylon,
Country Teasers,
Johnny Clarke,
Fad Gadget,
Ultramagnetic MC's,
Letta Mbulu,
Liaisons Dangereuses,
Swell Maps,
Dawn Penn,
Sexual Harrassment,
Ralphi Rosario,
Andrew Ashong & Theo Parrish,
Blake Baxter,
Suburban Knight,
Tears for Fears,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Red Krayola,
Susan Cadogan,
Dead Boys,
10cc,
The Moody Blues,
Todd Rundgren,
Gregory Isaacs,
Archie Shepp,
Malaria!,
Sun Ra Arkestra,
cv313,
Strawberry Alarm Clock,
Television Personalities,
Visionaries,LMNO, T- Love & Iriscience,
Dual Sessions,
Theoretical Girls,
Wolf Eyes,
Yellowson,
Lyres,
Warsaw,
Angry Samoans,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.