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 Albania and from Manchester.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Sao Paulo.
I'm losing my edge to the art-school Hong Kong 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 at the first Suicide practice in a loft in New York.
I was working on the rhodes 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 Tommy Roe to the rock kids.
I played it at the Hacienda.
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 a-ha. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every ABBA record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Ohio Players,
Fluxion,
Subhumans,
The Moleskins,
Marmalade,
Sixth Finger,
Girls At Our Best!,
Liliput,
Gong,
Glenn Branca,
The Gories,
Grey Daturas,
Lower 48,
The American Breed,
Kool G Rap & DJ Polo,
Visionaries,LMNO, T- Love & Iriscience,
Marcia Griffiths,
the Bar-Kays,
Scan 7,
The Fuzztones,
Gang Starr,
Tim Buckley,
Desert Stars,
The Beau Brummels,
The Raincoats,
Agent Orange,
Mark Hollis,
Spandau Ballet,
Brand Nubian,
New Order,
Soul II Soul,
Radiopuhelimet,
Ituana,
Animal Collective,
Kauko Röyhkä ja Narttu,
Country Teasers,
Sarah Menescal,
The New Christs,
Ludus,
Althea and Donna,
Letta Mbulu,
F. McDonald,
Agitation Free,
Bronski Beat,
Jawbox,
Super Lover Cee & Casanova Rud,
Tropical Tobacco,
Nirvana,
Sister Nancy,
Ornette Coleman,
John Cale,
Clear Light,
Jacques Brel,
James Chance & The Contortions,
The Blues Magoos,
Bad Manners,
John Holt,
Section 25,
Fear,
the Human League,
The Saints, The Saints, The Saints, The Saints.
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.