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 China and from Winnipeg.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Hong Kong.
I'm losing my edge to the art-school Spokane 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 Human League practice in a loft in Sheffield.
I was working on the spring reverb 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 Röyhkä ja Rättö ja Lehtisalo to the rock kids.
I played it at the Crocodile.
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 Sarah Menescal. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Sister Nancy record on German import.
I heard that you have a white label of every seminal rap 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 a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Cybotron record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry Gold Smith,
Audionom,
Pantaleimon,
Andrew Ashong & Theo Parrish,
The Selecter,
Procol Harum,
Flipper,
Heavy D & The Boyz,
F. McDonald,
The Smiths,
Grandmaster Flash,
Underground Resistance,
Marshall Jefferson,
Camberwell Now,
The Fugs,
Goldenarms,
Gary Puckett & The Union Gap,
Teenage Jesus and the Jerks,
Reuben Wilson,
Tommy Roe,
Peter and Kerry,
Johnny Osbourne,
Pet Shop Boys,
Freddie Wadling,
Peter Gordon & Love of Life Orchestra,
Magazine,
Skaos,
Ornette Coleman,
Roy Ayers Ubiquity,
The Doobie Brothers,
DeepChord presents Echospace,
Dorothy Ashby,
Godley & Creme,
London Community Gospel Choir,
Pole,
Wings,
Niagra,
Fluxion,
Quando Quango,
Ponytail,
Laurel Aitken,
Bang on a Can All-Stars,
Inner City,
Barclay James Harvest,
Model 500,
Jeru the Damaja,
Unrelated Segments,
Sight & Sound,
Accadde A,
Faraquet,
Animal Collective,
The Pop Group,
Loose Ends,
Bootsy Collins,
Massinfluence,
Oppenheimer Analysis,
Ken Boothe,
Hardrive,
The Misunderstood,
Ash Ra Tempel,
ABC,
Intrusion,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.