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 Lesotho and from Manila.
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 1970.
I'm losing my edge.
To all the kids in Columbus and Lyon.
I'm losing my edge to the art-school New York 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 Mistral practice in a loft in Amsterdam.
I was working on the clarinet sounds with much patience.
I was there when Holger Czukay 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 Terrestrial Tones to the electroclash 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 Marvin Gaye. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every The Red Krayola record on German import.
I heard that you have a white label of every seminal rock 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
The Cowsills,
Angry Samoans,
Bauhaus,
K-Klass,
Faust,
Liaisons Dangereuses,
Deadbeat,
The Gap Band,
ABBA,
The Busters,
Chris & Cosey,
The Fortunes,
The Sisters of Mercy,
AZ,
The Gories,
Arcadia,
Gerry Rafferty,
Rakim,
Bluetip,
the Normal,
The Slits,
Subhumans,
Aaron Thompson,
The Detroit Cobras,
Flash Fearless,
Red Lorry Yellow Lorry,
Ultra Naté,
Kool Moe Dee,
CMW,
Minny Pops,
Drive Like Jehu,
Lou Reed & John Cale,
Roxette,
Grauzone,
The Doobie Brothers,
Gil Scott-Heron and Jamie xx,
The Chocolate Watch Band,
The Trojans,
Kool G Rap & DJ Polo,
the Bar-Kays,
John Coltrane,
Matthew Bourne,
Main Source,
Junior Murvin,
Bang On A Can,
The Toasters,
Hasil Adkins,
Gabor Szabo,
Schoolly D,
Brass Construction,
Anakelly,
The Invisible,
The Velvet Underground,
Supertramp,
Monolake,
T. Rex,
Average White Band,
The J.B.'s,
Unrelated Segments,
Fifty Foot Hose,
Symarip, Symarip, Symarip, Symarip.
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.