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 Netherlands and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Milan and Halifax.
I'm losing my edge to the art-school Jakarta 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 organ sounds with much patience.
I was there when David Bowie 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 Urselle to the funk kids.
I played it at the Spitz.
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 Oblivians. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Patti Smith 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 '90s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
Intrusion,
the Normal,
Lyres,
Fela Kuti,
Icehouse,
Vaughan Mason & Crew,
Faust,
The Chocolate Watch Band,
The Selecter,
Ituana,
DeepChord presents Echospace,
Magazine,
Erasure,
Freddie Wadling,
Todd Rundgren,
Delon & Dalcan,
Spoonie Gee,
Johnny Osbourne,
The Seeds,
Scratch Acid,
Oblivians,
John Coltrane,
Wire,
X-101,
The Trojans,
Ralphi Rosario,
Bad Manners,
Metal Thangz,
Andrew Ashong & Theo Parrish,
Jeru the Damaja,
Roy Ayers Ubiquity,
Accadde A,
Traffic Nightmare,
Robert Wyatt,
Josef K,
Negative Approach,
Andrew Hill,
The Peanut Butter Conspiracy,
Jesper Dahlbäck,
48th St. Collective,
Major Organ And The Adding Machine,
Soul Sonic Force,
Ponytail,
Janne Schatter,
The Cramps,
the Slits,
Sarah Menescal,
8 Eyed Spy,
Grandmaster Flash,
Hot Snakes,
Radio Birdman,
Derrick Morgan,
The Tremeloes,
The Star Department,
X-102,
Reagan Youth,
Glenn Branca,
Ultra Naté,
China Crisis,
Public Enemy,
Motorama,
Outsiders, Outsiders, Outsiders, Outsiders.
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.