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 Hong Kong.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Tehran and Seoul.
I'm losing my edge to the art-school Cairo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the 808 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 Wings to the punk kids.
I played it at the Crocodile.
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 Franke. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every Average White Band 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
Deutsch Amerikanische Freundschaft,
Pierre Henry,
Thinking Fellers Union Local 282,
The Star Department,
The Techniques,
Symarip,
The Electric Prunes,
Little Man,
Liaisons Dangereuses,
Manfred Mann's Earth Band,
Buzzcocks,
the Soft Cell,
Kaleidoscope,
Yaz,
The Gun Club,
Crispian St. Peters,
the Sonics,
John Coltrane,
L. Decosne,
Vaughan Mason & Crew,
Dead Boys,
The Mummies,
Jawbox,
Fort Wilson Riot,
Icehouse,
Gong,
Art Ensemble Of Chicago,
Talk Talk,
The Happenings,
Ronnie Foster,
Make Up,
Fad Gadget,
Blake Baxter,
Jerry's Kids,
The Saints,
Chris & Cosey,
Amon Düül,
Orchestral Manoeuvres in the Dark,
Q and Not U,
Shuggie Otis,
The Alarm Clocks,
The Human League,
K-Klass,
Notorious Big And Bone Thugs,
The Fire Engines,
Pagans,
Colin Newman,
X-101,
Saccharine Trust,
Ludus,
Pussy Galore,
The Flesh Eaters,
Flipper,
Lonnie Liston Smith,
Flash Fearless,
Kurtis Blow,
The Pop Group,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.