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 Turkmenistan and from Toronto.
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 1978.
I'm losing my edge.
To all the kids in Manila and Columbus.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Dark Day to the techno 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 Icehouse. All the underground hits.
All Zero Boys tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Neu! record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June Days,
Rufus Thomas,
R.M.O.,
Kool Moe Dee,
Mr. Review,
Alice Coltrane,
Skarface,
World's Most,
Bobby Sherman,
Depeche Mode,
the Sonics,
T. Rex,
10cc,
Television,
David Axelrod,
Lyres,
Inner City,
Joensuu 1685,
New Age Steppers,
These Immortal Souls,
Heavy D & The Boyz,
Simply Red,
Sight & Sound,
Terry Callier,
Goldenarms,
Nas,
Magma,
Lalann,
Rod Modell,
Funkadelic,
Judy Mowatt,
Sparks,
B.T. Express,
Byron Stingily,
Spandau Ballet,
Organ,
the Fania All-Stars,
Country Joe & The Fish,
Blancmange,
Unwound,
Bob Dylan,
The Neon Judgement,
The Birthday Party,
Prince Buster,
Scan 7,
Grauzone,
a-ha,
Fugazi,
The Dave Clark Five,
Niagra,
Tomorrow,
Roy Ayers,
Pantaleimon,
Ten City,
Ohio Players,
The Fire Engines,
Jeff Mills,
Godley & Creme,
The Fall,
The Blackbyrds,
Masters at Work,
Ornette Coleman,
Mars, Mars, Mars, Mars.
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.