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 Kosovo and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Tehran and Edmonton.
I'm losing my edge to the art-school Madrid 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 Can practice in a loft in Cologne.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Gastr Del Sol to the grunge 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 Isaac Hayes. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Young Marble Giants 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Aloha Tigers,
K-Klass,
Interpol,
Jimmy McGriff,
David Axelrod,
Quando Quango,
H. Thieme,
Pagans,
Groovy Waters,
David Bowie,
The Doors,
Lower 48,
Soul II Soul,
the Normal,
The Smiths,
the Fania All-Stars,
Shuggie Otis,
MDC,
David McCallum,
Royal Trux,
Mark Hollis,
Stiv Bators,
Main Source,
The Last Poets,
Cabaret Voltaire,
Joyce Sims,
The Peanut Butter Conspiracy,
The Victims,
The Blackbyrds,
Jeff Mills,
Jeff Lynne,
Bush Tetras,
Bootsy's Rubber Band,
Davy DMX,
Flipper,
The Searchers,
The Count Five,
Organ,
Lebanon Hanover,
The Gun Club,
Johnny Clarke,
Electric Prunes,
Lucky Dragons,
Josef K,
Grandmaster Flash,
Young Marble Giants,
Crooked Eye,
Adolescents,
Motorama,
London Community Gospel Choir,
De La Soul & Jungle Brothers,
Scott Walker + Sunn O))),
Blake Baxter,
Swell Maps,
The Happenings,
Matthew Bourne,
Duran Duran,
Audionom,
Fort Wilson Riot,
The Neon Judgement,
Joensuu 1685, Joensuu 1685, Joensuu 1685, Joensuu 1685.
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.