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 Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Toronto and Bremen.
I'm losing my edge to the art-school Shanghai 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 Selda practice in a loft in Istanbul.
I was working on the oboe 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 ABBA to the techno kids.
I played it at the 40 Watt.
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 Massinfluence. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every Dave Gahan record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
The Divine Comedy,
Jawbox,
Lyres,
Bobbi Humphrey,
The Saints,
Mary Jane Girls,
The American Breed,
Roger Hodgson,
Isaac Hayes,
Blake Baxter,
Zapp,
Rekid,
Roxy Music,
Wire,
Pylon,
Masters at Work,
Kayak,
Orchestral Manoeuvres in the Dark,
The Walker Brothers,
Neu!,
JFA,
Marcia Griffiths,
New Age Steppers,
Qualms,
The Monochrome Set,
Major Organ And The Adding Machine,
DNA,
Gang Starr,
Essential Logic,
Stockholm Monsters,
Sandy B,
Angry Samoans,
Neil Young & Crazy Horse,
Richard Hell and the Voidoids,
Ultravox,
Quando Quango,
Todd Terry,
48th St. Collective,
Ronnie Foster,
Slick Rick,
Echospace,
Unwound,
Warsaw,
Oneida,
Art Ensemble Of Chicago,
Curtis Mayfield,
Ken Boothe,
Au Pairs,
Siglo XX,
8 Eyed Spy,
Symarip,
Throbbing Gristle,
Archie Shepp,
Bang on a Can All-Stars,
ABC,
Boredoms,
Janne Schatter,
The Alarm Clocks,
Bill Wells,
The Invisible, The Invisible, The Invisible, The Invisible.
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.