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 France and from Spokane.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Delhi.
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 synthesizer 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 Tom Boy to the rock 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 Human League. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal punk 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 a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Simply Red,
The Barracudas,
Magma,
Warsaw,
Zapp,
LL Cool J,
The Stooges,
T.S.O.L.,
Popol Vuh,
A Flock of Seagulls,
Mary Jane Girls,
Parry Music,
Graham Central Station,
Interpol,
These Immortal Souls,
The Tremeloes,
Nation of Ulysses,
Supertramp,
Wasted Youth,
MDC,
Alice Coltrane,
Young Marble Giants,
Marine Girls,
The Wake,
Khruangbin,
Oppenheimer Analysis,
Lungfish,
Lalann,
Gang Starr,
Gary Puckett & The Union Gap,
Sight & Sound,
PIL,
Cecil Taylor,
Sandy B,
David Bowie,
Avey Tare's Slasher Flicks,
Motorama,
Dawn Penn,
Scrapy,
The Walker Brothers,
Oneida,
Underground Resistance,
F. McDonald,
Fat Boys,
The Names,
Stockholm Monsters,
The Cramps,
Dead Boys,
Maleditus Sound,
The Music Machine,
Severed Heads,
The Fortunes,
Siglo XX,
Terrestrial Tones,
The Litter,
Cymande,
Ash Ra Tempel,
Bob Dylan,
Larry & the Blue Notes,
the Swans,
Big Daddy Kane,
Section 25, Section 25, Section 25, Section 25.
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.