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 Dominica and from Glasgow.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Beijing.
I'm losing my edge to the art-school Lyon 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 Man Parrish to the grunge kids.
I played it at the Spitz.
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 Louis and Bebe Barron. All the underground hits.
All DNA tracks. I heard you have a vinyl of every Louis and Bebe Barron 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 clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
The Electric Prunes,
Con Funk Shun,
The Star Department,
Andrew Hill,
ABBA,
Moss Icon,
Scott Walker,
The Royal Family And The Poor,
Scott Walker + Sunn O))),
Ossler,
Toni Rubio,
Jerry's Kids,
Blancmange,
Yusef Lateef,
Fela Kuti,
Neil Young,
Hot Snakes,
The Durutti Column,
Au Pairs,
June Days,
Thinking Fellers Union Local 282,
Kayak,
Joensuu 1685,
Bang on a Can All-Stars,
The Monks,
Fifty Foot Hose,
Derrick Morgan,
A Flock of Seagulls,
The Martian,
Jerry Gold Smith,
Faraquet,
The Men They Couldn't Hang,
Procol Harum,
Stockholm Monsters,
Maurizio,
Eurythmics,
Scratch Acid,
Electric Light Orchestra,
The Leaves,
Rhythm & Sound,
Urselle,
Janne Schatter,
Crime,
Q65,
Das Ding,
Minor Threat,
The Mighty Diamonds,
Rosa Yemen,
Flipper,
Swans,
Soul Sonic Force,
Lower 48,
Kurtis Blow,
Archie Shepp,
Visionaries,LMNO, T- Love & Iriscience,
Audionom,
Sun City Girls,
Ornette Coleman,
The Angels of Light,
Donny Hathaway,
Neil Young & Crazy Horse,
Mars, Mars, Mars, Mars.
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.