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 Saudi Arabia and from Accra.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1979.
I'm losing my edge.
To all the kids in Stockholm and Mumbai.
I'm losing my edge to the art-school Salvador 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 chamberlin 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 Main Source to the dance kids.
I played it at the Hacienda.
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 Morten Harket. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Animal Collective record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
The Invisible,
The Durutti Column,
The Trojans,
The Busters,
The Raincoats,
The Saints,
Pagans,
Pulsallama,
Sällskapet,
Boredoms,
Little Man,
Oppenheimer Analysis,
Jesper Dahlback,
Arab on Radar,
Suicide,
Ornette Coleman,
MDC,
Heavy D & The Boyz,
cv313,
Pere Ubu,
a-ha,
It's A Beautiful Day,
Pole,
The Standells,
Alice Coltrane,
Bluetip,
Ash Ra Tempel,
Index,
Television Personalities,
Underground Resistance,
The J.B.'s,
Lizzy Mercier Descloux,
Kevin Saunderson,
Ajijia Myrayebe,
Sun Ra Arkestra,
Procol Harum,
The Associates,
Jawbox,
Alton Ellis,
The West Coast Pop Art Experimental Band,
Jerry Gold Smith,
Deadbeat,
MC5,
The Gun Club,
Thinking Fellers Union Local 282,
Barclay James Harvest,
Gary Puckett & The Union Gap,
Banda Bassotti,
The Star Department,
The Dave Clark Five,
Sonny Sharrock,
the Soft Cell,
Radiopuhelimet,
The Blackbyrds,
Fat Boys,
Anakelly,
The Residents,
Ken Boothe,
Robert Görl,
The Techniques,
PIL,
Grauzone, Grauzone, Grauzone, Grauzone.
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.