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 Congo and from Manchester.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Shanghai.
I'm losing my edge to the art-school Portland 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the rhodes 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 Junior Murvin to the dance kids.
I played it at CBGB's.
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 Gories. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Stiv Bators 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 '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erasure,
The Names,
Jesper Dahlbäck,
The Smoke,
Barry Ungar,
Terrestrial Tones,
Wire,
Fugazi,
Radiopuhelimet,
The Grass Roots,
Lower 48,
Orchestral Manoeuvres in the Dark,
The Dead C,
La Düsseldorf,
Chris & Cosey,
Deutsch Amerikanische Freundschaft,
Oneida,
Arcadia,
Minnie Riperton,
Archie Shepp,
Junior Murvin,
Laurel Aitken,
Ten City,
Peter and Kerry,
The Skatalites,
Gary Puckett & The Union Gap,
Eric Dolphy,
Roxy Music,
Sarah Menescal,
Camouflage,
These Immortal Souls,
The Remains,
Hot Snakes,
Basic Channel,
Mr. Review,
the Swans,
The Alarm Clocks,
Nation of Ulysses,
Whodini,
Babytalk,
Kerri Chandler,
Ludus,
Cymande,
Black Pus,
June Days,
Popol Vuh,
the Germs,
Nirvana,
Althea and Donna,
Supertramp,
The Victims,
Letta Mbulu,
Todd Terry,
B.T. Express,
FM Einheit,
Todd Rundgren,
John Coltrane,
Smog,
Q and Not U,
Urselle,
Silicon Teens, Silicon Teens, Silicon Teens, Silicon Teens.
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.