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 Bahrain and from Shanghai.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Columbus and Shanghai.
I'm losing my edge to the art-school Tokyo 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Ronan to the electroclash kids.
I played it at the Spitz.
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 Johnny Osbourne. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Kerrie Biddell record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
Circle Jerks,
Gil Scott-Heron and Jamie xx,
Barry Ungar,
Buzzcocks,
Audionom,
Girls At Our Best!,
Don Cherry,
The Real Kids,
Jerry's Kids,
Kango’s Stein Massive,
John Foxx,
Warsaw,
Deutsch Amerikanische Freundschaft,
Groovy Waters,
John Lydon,
Kevin Saunderson,
Mars,
Average White Band,
Reagan Youth,
The Birthday Party,
The Sound,
Kool Moe Dee,
Cybotron,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
E-Dancer,
Quantec,
Davy DMX,
The Neon Judgement,
Harpers Bizarre,
The Slits,
The Knickerbockers,
Minutemen,
Subhumans,
Interpol,
Mad Mike,
Bobby Byrd,
Jandek,
Idris Muhammad,
Masters at Work,
Nik Kershaw,
Grandmaster Flash,
Rotary Connection,
Derrick May,
Ornette Coleman,
Henry Cow,
Electric Prunes,
The Vogues,
Lou Reed,
Swell Maps,
Terry Callier,
Sad Lovers and Giants,
Symarip,
Pagans,
Sonny Sharrock,
Tomorrow,
Niagra,
Juan Atkins,
Shuggie Otis,
Cabaret Voltaire,
Tropical Tobacco,
Rowland S Howard / Lydia Lunch,
Throbbing Gristle,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.