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 Ethiopia and from Copenhagen.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Salvador and New York.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba 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 Reuben Wilson to the jazz 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 Notorious BIG live in Amsterdam. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Mission of Burma record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Litter,
Echospace,
The Toasters,
Cabaret Voltaire,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Royal Family And The Poor,
Jacob Miller,
The Fugs,
Notorious Big And Bone Thugs,
Archie Shepp,
The Doors,
Jerry's Kids,
Peter & Gordon,
The Selecter,
John Holt,
Warren Ellis,
a-ha,
The Mummies,
Masters at Work,
Crispian St. Peters,
Lightning Bolt,
Talk Talk,
Marc Almond,
The Tremeloes,
Tropical Tobacco,
Livin' Joy,
Janne Schatter,
Banda Bassotti,
The Seeds,
Oneida,
Theoretical Girls,
Harry Pussy,
ABC,
The Electric Prunes,
Howard Jones,
Visage,
The Wake,
Minor Threat,
Clear Light,
Swell Maps,
Amon Düül,
Nik Kershaw,
Sam Rivers,
Hashim,
Bill Wells,
Radiopuhelimet,
Depeche Mode,
David Bowie,
Hardrive,
The Durutti Column,
Pharaoh Sanders and the Fire Engines,
Ossler,
Rahsaan Roland Kirk,
The Leaves,
Scott Walker,
Joe Smooth,
Angels of Light & Akron/Family,
Al Stewart,
The Victims,
Thompson Twins,
The Searchers,
Kevin Saunderson,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.