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 Kiribati and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Portland and Manila.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 CMW to the grime kids.
I played it at the Roxy.
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 Joyce Sims. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every The Sound 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 '80s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
Wolf Eyes,
Electric Light Orchestra,
The Motions,
Arcadia,
Kaleidoscope,
Roxette,
MDC,
Rufus Thomas,
Sly & The Family Stone,
Lafayette Afro Rock Band,
The Black Dice,
Piero Umiliani,
Echospace,
Negative Approach,
Barry Ungar,
Kayak,
Bronski Beat,
Kings Of Tomorrow,
Tommy Roe,
Bad Manners,
Mo-Dettes,
The Wake,
Lalo Schifrin,
Scratch Acid,
Goldenarms,
Yaz,
Hot Snakes,
Notorious Big And Bone Thugs,
Mad Mike,
Main Source,
Ponytail,
Soft Cell,
The Offenders,
Altered Images,
Donald Byrd,
The Neon Judgement,
The Royal Family And The Poor,
Gil Scott-Heron & Brian Jackson,
Reagan Youth,
The Peanut Butter Conspiracy,
Marvin Gaye,
Nas,
Chris & Cosey,
Spoonie Gee,
Minor Threat,
Sonic Youth,
The Golliwogs,
Banda Bassotti,
Gabor Szabo,
Jerry Gold Smith,
Animal Collective,
The Dead C,
Hoover,
Crispian St. Peters,
Strawberry Alarm Clock,
Talk Talk,
Super Lover Cee & Casanova Rud,
Siouxsie and the Banshees,
Nik Kershaw,
Young Marble Giants,
The Moody Blues,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
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.