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 Kiribati and from Copenhagen.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Seoul and Taipei.
I'm losing my edge to the art-school Manchester 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 marimba 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 Lonnie Liston Smith to the funk 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 Echospace. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every David Axelrod 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 '90s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
PIL,
ABC,
Gil Scott Heron,
Alison Limerick,
Flash Fearless,
The Victims,
Harry Pussy,
Röyhkä ja Rättö ja Lehtisalo,
Unrelated Segments,
Kenny Larkin,
Television,
FM Einheit,
The Knickerbockers,
Saccharine Trust,
Eric Dolphy,
Liliput,
Skaos,
Echo & the Bunnymen,
Kauko Röyhkä ja Narttu,
Hasil Adkins,
Suicide,
Scientists,
Jerry's Kids,
Todd Rundgren,
Bobby Womack,
Bootsy's Rubber Band,
Outsiders,
Hardrive,
Major Organ And The Adding Machine,
Toni Rubio,
The Detroit Cobras,
Gang Gang Dance,
Ultramagnetic MC's,
Masters at Work,
Gerry Rafferty,
Barbara Tucker,
Lalo Schifrin,
Boogie Down Productions,
Eric Copeland,
The Remains,
Excepter,
Nation of Ulysses,
Goldenarms,
Bronski Beat,
Negative Approach,
kango's stein massive,
R.M.O.,
Teenage Jesus and the Jerks,
The Alarm Clocks,
Ice-T,
Ponytail,
The Modern Lovers,
Swell Maps,
David McCallum,
Joe Smooth,
Minnie Riperton,
the Soft Cell,
The Fuzztones,
Lakeside,
Black Pus,
Roy Ayers Ubiquity,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.