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 Spain and from Houston.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Salvador and Tehran.
I'm losing my edge to the art-school Manchester 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Soft Cell to the electroclash kids.
I played it at the 40 Watt.
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 Manfred Mann's Earth Band. All the underground hits.
All Lee Hazlewood tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal techno 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 harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
Laurel Aitken,
Brass Construction,
X-101,
Pole,
Y Pants,
Art Ensemble Of Chicago,
Popol Vuh,
James White and The Blacks,
Faust,
The Wake,
Flamin' Groovies,
The Jesus and Mary Chain,
H. Thieme,
Little Man,
The Pretty Things,
The Mighty Diamonds,
Eurythmics,
Hardrive,
Fear,
Rod Modell,
Kango’s Stein Massive,
The Peanut Butter Conspiracy,
Black Flag,
Sällskapet,
Colin Newman,
Soul Sonic Force,
X-Ray Spex,
Scratch Acid,
Monks,
The Knickerbockers,
The J.B.'s,
Tropical Tobacco,
Warsaw,
kango's stein massive,
Anthony Braxton,
Moby Grape,
Unwound,
Model 500,
Manfred Mann's Earth Band,
Deepchord,
Rhythim Is Rhythim,
DeepChord presents Echospace,
EPMD,
Rowland S Howard / Lydia Lunch,
Lakeside,
Sly & The Family Stone,
Index,
Glenn Branca,
June of 44,
Vainqueur,
Angels of Light & Akron/Family,
The New Christs,
The Red Krayola,
Pharaoh Sanders and the Fire Engines,
Country Joe & The Fish,
Skaos,
Royal Trux,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.