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 Djibouti and from Spokane.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Delhi and Manchester.
I'm losing my edge to the art-school Seoul 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 The Men They Couldn't Hang to the rap 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 Ornette Coleman. All the underground hits.
All Sight & Sound tracks. I heard you have a vinyl of every Chris & Cosey record on German import.
I heard that you have a white label of every seminal rap 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 synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Scott Walker + Sunn O))),
The Move,
Liaisons Dangereuses,
a-ha,
Rufus Thomas,
Althea and Donna,
Skaos,
Crime,
Subhumans,
Visage,
Captain Beefheart & His Magic Band,
Todd Rundgren,
Gang Green,
This Heat,
X-101,
Metal Thangz,
Lebanon Hanover,
Jesper Dahlbäck,
Jerry's Kids,
Siglo XX,
Newcleus,
Mary Jane Girls,
Gastr Del Sol,
Buzzcocks,
Khruangbin,
The Trojans,
Bobby Byrd,
Arab on Radar,
Dark Day,
Ronnie Foster,
Mo-Dettes,
These Immortal Souls,
Index,
Q and Not U,
The Residents,
Nick Fraelich,
Cabaret Voltaire,
Swell Maps,
X-102,
Harmonia,
Ice-T,
Eddi Front,
Eric Copeland,
Jeff Mills,
The United States of America,
Black Sheep,
Ralphi Rosario,
Stiv Bators,
Ultramagnetic MC's,
Drexciya,
Mr. Review,
Eve St. Jones,
Icehouse,
Hoover,
Major Organ And The Adding Machine,
Quadrant,
Barrington Levy,
Tubeway Army,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.