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 Tanzania and from Shanghai.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1972.
I'm losing my edge.
To all the kids in Salvador and Shanghai.
I'm losing my edge to the art-school Philadelphia 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 mellotron 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 Rod Modell to the techno 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 The Velvet Underground. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every Parry Music record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ituana,
The Happenings,
Juan Atkins,
Fort Wilson Riot,
Heaven 17,
Bob Dylan,
Eric Dolphy,
Sexual Harrassment,
Richard Hell and the Voidoids,
Beasts of Bourbon,
Buzzcocks,
Masters at Work,
Nils Olav,
a-ha,
Avey Tare & Kría Brekkan,
Unwound,
Pet Shop Boys,
The Doors,
Cecil Taylor,
Camouflage,
Tomorrow,
The Sonics,
The Monochrome Set,
Sam Rivers,
Eric B and Rakim,
Reuben Wilson,
Gang Gang Dance,
The Misunderstood,
The American Breed,
Subhumans,
Jeru the Damaja,
Stockholm Monsters,
Joyce Sims,
Isaac Hayes,
Smog,
KRS-One,
Röyhkä ja Rättö ja Lehtisalo,
Q and Not U,
The Blues Magoos,
Blancmange,
Amon Düül,
Mars,
the Swans,
The Music Machine,
CMW,
The Stooges,
Alphaville,
Khruangbin,
Visage,
Jesper Dahlbäck,
ABBA,
The Vogues,
The Fugs,
Cybotron,
Black Pus,
It's A Beautiful Day,
Minor Threat,
Ronan,
Roxette, Roxette, Roxette, Roxette.
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.