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 Monaco and from Tehran.
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 1977.
I'm losing my edge.
To all the kids in Delhi and New York.
I'm losing my edge to the art-school Stockholm 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 Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 The Sound to the rock kids.
I played it at the Troubador.
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 Eve St. Jones. All the underground hits.
All cv313 tracks. I heard you have a vinyl of every the Human League record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Drive Like Jehu,
Archie Shepp,
Nation of Ulysses,
Visage,
The Mummies,
Lightning Bolt,
Cameo,
Sonic Youth,
Angels of Light & Akron/Family,
Oppenheimer Analysis,
Lee Hazlewood,
Symarip,
The Sound,
Pharaoh Sanders and the Fire Engines,
Mark Hollis,
X-Ray Spex,
The Velvet Underground,
Roger Hodgson,
Rakim,
Scrapy,
ABBA,
Hasil Adkins,
The Buckinghams,
Das Ding,
Angry Samoans,
Oneida,
Eric B and Rakim,
Maleditus Sound,
Isaac Hayes,
Kevin Saunderson,
Sun Ra Arkestra,
Loose Ends,
Bang On A Can,
Susan Cadogan,
Von Mondo,
Black Flag,
Fear,
Laurel Aitken,
Sunsets and Hearts,
Junior Murvin,
Negative Approach,
Lou Reed & John Cale,
Simply Red,
Jacques Brel,
Ken Boothe,
Janne Schatter,
Flipper,
Massinfluence,
Cymande,
Royal Trux,
Rahsaan Roland Kirk,
Reuben Wilson,
Soft Machine,
Bill Near,
Khruangbin,
Harpers Bizarre,
Ossler,
John Cale,
DeepChord presents Echospace,
Matthew Bourne,
Kayak,
Idris Muhammad,
The Human League, The Human League, The Human League, The Human League.
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.