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 Hungary and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1971.
I'm losing my edge.
To all the kids in Madrid and Shanghai.
I'm losing my edge to the art-school Manila 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Orchestral Manoeuvres in the Dark to the rap 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 Maleditus Sound. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every The Pop Group record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Gichy Dan record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blues Magoos,
the Sonics,
Connie Case,
Fugazi,
Joyce Sims,
The Techniques,
Masters at Work,
Agitation Free,
Roxy Music,
Angry Samoans,
Unrelated Segments,
Albert Ayler,
Scan 7,
Harpers Bizarre,
Radiohead,
Hasil Adkins,
Kerrie Biddell,
Matthew Halsall,
The Gories,
Jacques Brel,
Index,
Pantytec,
Parry Music,
the Soft Cell,
Accadde A,
The Music Machine,
Soft Cell,
Stetsasonic,
Minnie Riperton,
The Slackers,
Animal Collective,
Rites of Spring,
Steve Hackett,
Terror Squad Feat. Camron,
Deakin,
Pagans,
Marvin Gaye,
Blancmange,
Sixth Finger,
Wings,
Eli Mardock,
The Angels of Light,
Popol Vuh,
The Pretty Things,
Colin Newman,
Avey Tare & Kría Brekkan,
Lakeside,
10cc,
Nils Olav,
Au Pairs,
Slave,
Brick,
AZ,
Kevin Saunderson,
Skriet,
Oneida,
Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica.
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.