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 Andorra and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1978.
I'm losing my edge.
To all the kids in Taipei and Mumbai.
I'm losing my edge to the art-school London 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 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 Intrusion to the jazz 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 Liaisons Dangereuses. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every Jandek record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Liliput,
Vaughan Mason & Crew,
One Last Wish,
Whodini,
Yaz,
Derrick Morgan,
Sandy B,
Joe Smooth,
PIL,
Marine Girls,
Deutsch Amerikanische Freundschaft,
Sound Behaviour,
Josef K,
Oppenheimer Analysis,
Loose Ends,
The Remains,
The American Breed,
The Sound,
Johnny Osbourne,
Sonic Youth,
Gil Scott-Heron & Brian Jackson,
Thompson Twins,
Alphaville,
The Slits,
Tropical Tobacco,
Matthew Bourne,
DNA,
The Skatalites,
Andrew Ashong & Theo Parrish,
Groovy Waters,
Essential Logic,
The Names,
The Cosmic Jokers,
The Slackers,
Soft Machine,
Desert Stars,
Crime,
a-ha,
Black Sheep,
Crooked Eye,
Circle Jerks,
X-102,
Lou Reed & John Cale,
Aloha Tigers,
Swell Maps,
Jeff Mills,
The Martian,
Public Enemy,
Model 500,
Ralphi Rosario,
Ten City,
Soul II Soul,
Sam Rivers,
The Offenders,
Flamin' Groovies,
Barry Ungar,
Babytalk,
Flash Fearless,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.