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 Chad and from Lyon.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Bremen and Lagos.
I'm losing my edge to the art-school Salvador 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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron 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 Supertramp 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 Ultravox. All the underground hits.
All The Zeros tracks. I heard you have a vinyl of every Swell Maps 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 '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
The Zeros,
Siglo XX,
Heavy D & The Boyz,
Interpol,
Procol Harum,
In Retrospect,
Idris Muhammad,
Jesper Dahlback,
Pere Ubu,
Monks,
Nirvana,
The Chocolate Watch Band,
Warren Ellis,
the Slits,
Colin Newman,
Eddi Front,
Easy Going,
Jeff Mills,
Blancmange,
Chris Corsano,
Howard Jones,
The Shadows of Knight,
Cabaret Voltaire,
Brand Nubian,
Flipper,
Yaz,
Hot Snakes,
Ken Boothe,
Joyce Sims,
Barry Ungar,
Josef K,
Fluxion,
Traffic Nightmare,
Moss Icon,
The Dead C,
Kauko Röyhkä ja Narttu,
Sad Lovers and Giants,
Sonic Youth,
Index,
Wasted Youth,
The Invisible,
Prince Buster,
Soulsonic Force,
Pole,
Swell Maps,
Eric Copeland,
Sly & The Family Stone,
Darondo,
The Offenders,
Q and Not U,
Eric Dolphy,
The Golliwogs,
Little Man,
T.S.O.L.,
Robert Wyatt,
Visionaries,LMNO, T- Love & Iriscience,
Lee Hazlewood,
Bang on a Can All-Stars,
Black Pus,
Wolf Eyes,
The Standells, The Standells, The Standells, The Standells.
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.