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 Senegal and from Halifax.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Salvador.
I'm losing my edge to the art-school Paris 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 1968 at the first Can practice in a loft in Cologne.
I was working on the rhodes 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 Scrapy to the crunk 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 Masters at Work. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Quadrant record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
Ultra Naté,
Robert Hood,
Aural Exciters,
Ituana,
The American Breed,
Yazoo,
Avey Tare's Slasher Flicks,
Lyres,
Drive Like Jehu,
FM Einheit,
EPMD,
Camberwell Now,
Alton Ellis,
Jeff Lynne,
L. Decosne,
Maurizio,
Marmalade,
Drexciya,
Mad Mike,
De La Soul & Jungle Brothers,
The Misunderstood,
New Age Steppers,
The Alarm Clocks,
LL Cool J,
Negative Approach,
The Pop Group,
Camouflage,
Interpol,
Radiohead,
Dual Sessions,
Pere Ubu,
Black Moon,
Suburban Knight,
DNA,
Warren Ellis,
Fat Boys,
Joey Negro,
Shoche,
T. Rex,
Ralphi Rosario,
Sarah Menescal,
Depeche Mode,
Crispy Ambulance,
Agent Orange,
The Motions,
Red Lorry Yellow Lorry,
Kerrie Biddell,
Justin Hinds & The Dominoes,
Alice Coltrane,
New Order,
Pagans,
Hot Snakes,
Danielle Patucci,
John Coltrane,
The Barracudas,
Anthony Braxton,
Monolake,
Major Organ And The Adding Machine,
James Chance & The Contortions,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.