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 Equatorial Guinea and from Hong Kong.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Salvador.
I'm losing my edge to the art-school Johannesburg 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 guitar sounds with much patience.
I was there when Donald Fagen 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 Panda Bear to the techno 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 Visage. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every Tubeway Army record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Groovy Waters record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Yaz,
Dorothy Ashby,
Grauzone,
The Fortunes,
Magazine,
Johnny Clarke,
The Angels of Light,
Maleditus Sound,
the Fania All-Stars,
The Cowsills,
Vaughan Mason & Crew,
Black Pus,
Jeff Mills,
Chrome,
New York Dolls,
Orchestral Manoeuvres in the Dark,
It's A Beautiful Day,
Janne Schatter,
Mad Mike,
The Doors,
The Blues Magoos,
Dawn Penn,
R.M.O.,
Harry Pussy,
Peter Gordon & Love of Life Orchestra,
Joe Finger,
Monolake,
X-102,
Lightning Bolt,
Ajijia Myrayebe,
Soft Machine,
Sly & The Family Stone,
Kenny Larkin,
Grey Daturas,
Bush Tetras,
The Move,
Agitation Free,
Boogie Down Productions,
Sällskapet,
Chris Corsano,
Swans,
Bauhaus,
Magma,
The Shadows of Knight,
The Mojo Men,
kango's stein massive,
Los Fastidios,
Easy Going,
Traffic Nightmare,
Youth Brigade,
Gil Scott-Heron and Jamie xx,
Dark Day,
Jeru the Damaja,
Big Daddy Kane,
Lonnie Liston Smith,
Judy Mowatt,
U.S. Maple,
The Monks,
Colin Newman,
The Walker Brothers,
John Lydon,
Gang Green,
The Zeros, The Zeros, The Zeros, The Zeros.
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.