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 Uruguay and from Winnipeg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Jakarta.
I'm losing my edge to the art-school Jakarta 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the linndrum 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 Rites of Spring to the punk kids.
I played it at the 40 Watt.
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 Arthur Verocai. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Quantec 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
Stetsasonic,
The Gap Band,
Soft Machine,
The Star Department,
Girls At Our Best!,
Simply Red,
Scratch Acid,
Röyhkä ja Rättö ja Lehtisalo,
Traffic Nightmare,
Joe Smooth,
Monolake,
Procol Harum,
Cameo,
Lalann,
the Normal,
The Slackers,
Los Fastidios,
Ossler,
Matthew Halsall,
Bobby Womack,
Notorious Big And Bone Thugs,
The Electric Prunes,
Bob Dylan,
Gabor Szabo,
Mark Hollis,
The Pretty Things,
Sly & The Family Stone,
Ornette Coleman,
Beasts of Bourbon,
Erasure,
Masters at Work,
The Index,
Camouflage,
Thinking Fellers Union Local 282,
Davy DMX,
Tom Boy,
Byron Stingily,
Magazine,
The Knickerbockers,
Metal Thangz,
Colin Newman,
Freddie Wadling,
The Mighty Diamonds,
Young Marble Giants,
Peter & Gordon,
Don Cherry,
Glenn Branca,
Wighnomy Brothers & Robag Wruhme,
Barry Ungar,
Suburban Knight,
China Crisis,
The Offenders,
Peter Gordon & Love of Life Orchestra,
the Human League,
Agitation Free,
the Association,
X-Ray Spex,
The Associates,
Lonnie Liston Smith,
The Red Krayola,
Delta 5,
David Axelrod,
Alphaville,
H. Thieme, H. Thieme, H. Thieme, H. Thieme.
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.