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 Bhutan and from London.
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 1972.
I'm losing my edge.
To all the kids in Milan and New York.
I'm losing my edge to the art-school Houston 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 1968 at the first Can practice in a loft in Cologne.
I was working on the rhodes sounds with much patience.
I was there when David Bowie 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 Rites of Spring to the dance 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 Godley & Creme. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Harry Pussy,
Heaven 17,
Royal Trux,
Minutemen,
Oblivians,
The Mummies,
Stockholm Monsters,
Bronski Beat,
Scrapy,
The Men They Couldn't Hang,
Icehouse,
Aaron Thompson,
Rhythm & Sound,
Black Pus,
The Sound,
Joey Negro,
Fear,
Cal Tjader,
The Blackbyrds,
Soft Machine,
Kauko Röyhkä ja Narttu,
Sex Pistols,
Mary Jane Girls,
Kool Moe Dee,
The Neon Judgement,
DNA,
A Flock of Seagulls,
Sound Behaviour,
Dorothy Ashby,
The Evens,
The Sisters of Mercy,
Visionaries,LMNO, T- Love & Iriscience,
the Sonics,
Pere Ubu,
Pantaleimon,
The Monks,
Amon Düül II,
ABBA,
Henry Cow,
Section 25,
Lonnie Liston Smith,
Q65,
Gerry Rafferty,
The Names,
Negative Approach,
Thee Headcoats,
Japan,
China Crisis,
X-101,
Barbara Tucker,
Jeff Mills,
Amon Düül,
Idris Muhammad,
Sällskapet,
The West Coast Pop Art Experimental Band,
Graham Central Station,
Depeche Mode,
The American Breed,
Sun City Girls,
The Chocolate Watch Band,
Barclay James Harvest,
Nation of Ulysses,
The Toasters, The Toasters, The Toasters, The Toasters.
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.