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 Belarus and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Manchester and Manchester.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Sarah Menescal to the jazz kids.
I played it at Cafe Wha.
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 Oblivians. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every Eric B and Rakim record on German import.
I heard that you have a white label of every seminal jazz 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your snare and bought a 808.
I hear that you and your band have sold your 808 and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Sad Lovers and Giants,
Boredoms,
Jerry's Kids,
Tears for Fears,
The Smiths,
Joy Division,
the Germs,
Magazine,
Connie Case,
The Wake,
Lebanon Hanover,
Althea and Donna,
Avey Tare,
The Modern Lovers,
The Residents,
Angels of Light & Akron/Family,
Jimmy McGriff,
In Retrospect,
Deakin,
The Martian,
Pierre Henry,
Faust,
Bill Wells,
L. Decosne,
Lee Hazlewood,
Japan,
Marshall Jefferson,
Toni Rubio,
Juan Atkins,
Soft Machine,
Banda Bassotti,
Gil Scott Heron,
New Order,
Sarah Menescal,
Pharoah Sanders,
David Axelrod,
Joyce Sims,
Moebius,
Steve Hackett,
The Move,
Bobby Hutcherson,
The Chocolate Watch Band,
Minnie Riperton,
Nick Fraelich,
the Sonics,
Gian Franco Pienzio,
Kool G Rap & DJ Polo,
Scan 7,
Vladislav Delay,
The Jesus and Mary Chain,
Janne Schatter,
Jesper Dahlbäck,
Dark Day,
ABBA,
Frankie Knuckles,
Josef K,
Roxette,
Scion,
Beasts of Bourbon,
Tommy Roe,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.