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 Tajikistan and from Tokyo.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Portland.
I'm losing my edge to the art-school Beijing 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 Bizarre Inc. to the funk 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 PIL. All the underground hits.
All The Cowsills tracks. I heard you have a vinyl of every Qualms record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Joe Finger,
The Jesus and Mary Chain,
ABC,
Bang on a Can All-Stars,
Ornette Coleman,
Dorothy Ashby,
Section 25,
Suicide,
Marc Almond,
Nation of Ulysses,
The Gap Band,
Red Lorry Yellow Lorry,
Zero Boys,
The Leaves,
Gerry Rafferty,
Tommy Roe,
Robert Wyatt,
Can,
Tears for Fears,
Gil Scott-Heron & Brian Jackson,
Marcia Griffiths,
These Immortal Souls,
DNA,
The United States of America,
Amon Düül,
Matthew Bourne,
Inner City,
Fat Boys,
Organ,
Half Japanese,
Wasted Youth,
The Peanut Butter Conspiracy,
Althea and Donna,
The Evens,
FM Einheit,
Jimmy McGriff,
Kool Moe Dee,
David McCallum,
Little Man,
Mark Hollis,
Hasil Adkins,
Electric Light Orchestra,
A Flock of Seagulls,
Accadde A,
Siglo XX,
Man Eating Sloth,
Royal Trux,
The Happenings,
Robert Görl,
U.S. Maple,
Silicon Teens,
Skarface,
The Five Americans,
Mo-Dettes,
Babytalk,
Junior Murvin,
Josef K,
Con Funk Shun,
Andrew Hill,
PIL,
Quando Quango,
Hardrive, Hardrive, Hardrive, Hardrive.
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.