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 Seychelles and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1979.
I'm losing my edge.
To all the kids in Milan and Calgary.
I'm losing my edge to the art-school Calgary 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Astoria.
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 Thompson Twins. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Ken Boothe 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Janne Schatter record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vladislav Delay,
Magazine,
Soulsonic Force,
AZ,
T.S.O.L.,
Kevin Saunderson,
Joyce Sims,
The Peanut Butter Conspiracy,
Nation of Ulysses,
Lindisfarne,
Little Man,
Nico,
Shoche,
The Black Dice,
Radiohead,
Main Source,
Peter & Gordon,
New York Dolls,
Pulsallama,
Funky Four + One,
Junior Murvin,
Severed Heads,
Faraquet,
Jesper Dahlbäck,
Marshall Jefferson,
Deadbeat,
Sun Ra Arkestra,
Rod Modell,
Susan Cadogan,
Lungfish,
Masters at Work,
Michelle Simonal,
Spandau Ballet,
The Flesh Eaters,
Mandrill,
The Pop Group,
London Community Gospel Choir,
Sad Lovers and Giants,
Essential Logic,
Amon Düül,
Frankie Knuckles,
Robert Hood,
The Birthday Party,
Eddi Front,
Stereo Dub,
The Cramps,
The Dirtbombs,
Vainqueur,
Oneida,
Television,
Banda Bassotti,
Terry Callier,
Swans,
Alton Ellis,
Maurizio,
Chris & Cosey,
Todd Rundgren,
EPMD,
Mantronix,
Fluxion,
Quantec,
Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey.
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.