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 Venezuela and from Edmonton.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Lyon and Manchester.
I'm losing my edge to the art-school Houston 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare 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 The Buckinghams to the disco 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 Icehouse. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Pet Shop Boys record on German import.
I heard that you have a white label of every seminal disco 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 a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
Barclay James Harvest,
John Holt,
MC5,
Parry Music,
Robert Hood,
Wings,
Shuggie Otis,
Cluster,
Terry Callier,
Yazoo,
Kas Product,
Peter & Gordon,
Oblivians,
Moebius,
Section 25,
Mantronix,
Larry & the Blue Notes,
Shoche,
Main Source,
Peter Gordon & Love of Life Orchestra,
Cheater Slicks,
Agitation Free,
The Pretty Things,
U.S. Maple,
Eli Mardock,
Johnny Clarke,
The Fall,
Zapp,
Gian Franco Pienzio,
Smog,
Dead Boys,
Camouflage,
James White and The Blacks,
Drexciya,
Funkadelic,
Cymande,
Gang Starr,
The Beau Brummels,
Fear,
Sight & Sound,
Stiv Bators,
Crispy Ambulance,
Au Pairs,
The Dave Clark Five,
K-Klass,
Black Bananas,
Roger Hodgson,
Fifty Foot Hose,
Lee Hazlewood,
Röyhkä ja Rättö ja Lehtisalo,
Wire,
The Men They Couldn't Hang,
The Human League,
Wolf Eyes,
Vainqueur,
Eric Dolphy,
Throbbing Gristle,
Supertramp,
Electric Light Orchestra,
Bob Dylan,
ABC,
Thee Headcoats,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.