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 Turkmenistan and from Glasgow.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Stockholm.
I'm losing my edge to the art-school Taipei 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 oboe 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 Selector Dub Narcotic to the jazz kids.
I played it at the Troubador.
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 Dead Boys. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Symarip record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Foxx,
Steve Hackett,
Wire,
Be Bop Deluxe,
Swans,
Joe Finger,
Funky Four + One,
Joy Division,
Radiohead,
Byron Stingily,
Traffic Nightmare,
The Last Poets,
Andrew Ashong & Theo Parrish,
John Lydon,
Anthony Braxton,
Altered Images,
Archie Shepp,
Maurizio,
The Index,
Eurythmics,
E-Dancer,
The Fuzztones,
Blancmange,
Fear,
The Barracudas,
Flash Fearless,
Minutemen,
Ralphi Rosario,
Nils Olav,
Gang Starr,
L. Decosne,
Lightning Bolt,
The Wake,
Moss Icon,
cv313,
Faust,
Gong,
The Misunderstood,
Wally Richardson,
Hoover,
The Men They Couldn't Hang,
Mantronix,
The Slits,
MC5,
Excepter,
The Remains,
Boogie Down Productions,
Pierre Henry,
The Smoke,
John Coltrane,
The Golliwogs,
H. Thieme,
Marmalade,
the Normal,
Ohio Players,
London Community Gospel Choir,
Masters at Work,
The Pop Group,
The Human League,
The Gun Club,
Grandmaster Flash and the Furious Five,
Thompson Twins,
Shuggie Otis, Shuggie Otis, Shuggie Otis, Shuggie Otis.
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.