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 Belgium and from Lyon.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Woodstock.
I'm losing my edge to the art-school Delhi 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 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 Standells to the grunge 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 Organ. All the underground hits.
All Sixth Finger tracks. I heard you have a vinyl of every PIL record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
48th St. Collective,
Shoche,
Richard Hell and the Voidoids,
Man Eating Sloth,
Kango’s Stein Massive,
Laurel Aitken,
Buzzcocks,
The Motions,
The Standells,
Deutsch Amerikanische Freundschaft,
the Bar-Kays,
Ten City,
The Selecter,
Gang Green,
The Knickerbockers,
Faraquet,
Intrusion,
Quadrant,
Warsaw,
MDC,
Rufus Thomas,
Rahsaan Roland Kirk,
OOIOO,
Fluxion,
Sexual Harrassment,
L. Decosne,
Marine Girls,
The Happenings,
Moebius,
Tom Boy,
Boz Scaggs,
Orchestral Manoeuvres in the Dark,
Marcia Griffiths,
Lou Reed,
The Cosmic Jokers,
The Real Kids,
X-102,
Kauko Röyhkä ja Narttu,
The Slackers,
These Immortal Souls,
EPMD,
Liliput,
Roy Ayers Ubiquity,
Wally Richardson,
Sound Behaviour,
The Mighty Diamonds,
Newcleus,
Minny Pops,
Al Stewart,
Lizzy Mercier Descloux,
Cabaret Voltaire,
Morten Harket,
Television,
Marc Almond,
Cybotron,
Siglo XX,
Neil Young,
Inner City,
Pet Shop Boys,
Mo-Dettes,
Popol Vuh,
Rapeman, Rapeman, Rapeman, Rapeman.
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.