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 Seychelles and from Manila.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1970.
I'm losing my edge.
To all the kids in Lille and Manila.
I'm losing my edge to the art-school Bremen 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 mellotron 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 Erasure to the dance 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 The Shadows of Knight. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every the Normal 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 '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Organ record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fatback Band,
Traffic Nightmare,
Flamin' Groovies,
Inner City,
Oneida,
OOIOO,
Unwound,
Ken Boothe,
Vladislav Delay,
Max Romeo,
Henry Cow,
Icehouse,
Sixth Finger,
Malaria!,
The Leaves,
Gian Franco Pienzio,
The Offenders,
Avey Tare,
The Cramps,
Pole,
A Flock of Seagulls,
Loose Ends,
Eric B and Rakim,
The Mighty Diamonds,
John Cale,
The Cowsills,
Ralphi Rosario,
Roy Ayers Ubiquity,
Joe Finger,
Notorious BIG live in Amsterdam,
Quadrant,
Anthony Braxton,
The Smiths,
Warsaw,
Talk Talk,
Ohio Players,
London Community Gospel Choir,
The Litter,
Bill Wells,
The Wake,
Roxette,
Manfred Mann's Earth Band,
David Bowie,
Goldenarms,
Throbbing Gristle,
Avey Tare's Slasher Flicks,
The Star Department,
Boogie Down Productions,
Drive Like Jehu,
Panda Bear,
Simply Red,
Mr. Review,
Tres Demented,
Gong,
Colin Newman,
Stiv Bators,
Amon Düül,
Audionom,
Bluetip,
Dark Day, Dark Day, Dark Day, Dark Day.
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.