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 Mozambique and from Bremen.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Halifax and New York.
I'm losing my edge to the art-school Bologna 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord sounds with much patience.
I was there when Captain Beefheart 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 John Holt to the dance kids.
I played it at the Hacienda.
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 Popol Vuh. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every Traffic Nightmare 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 '70s cut and another box set from the '80s.
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 Y Pants record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Derrick May,
Chris & Cosey,
The Beau Brummels,
June of 44,
Aaron Thompson,
Bad Manners,
Malaria!,
Los Fastidios,
Pulsallama,
Parry Music,
Joyce Sims,
Von Mondo,
Gastr Del Sol,
The Blackbyrds,
Monks,
Massinfluence,
The Seeds,
The Sound,
Nils Olav,
the Fania All-Stars,
The Star Department,
Faust,
Ash Ra Tempel,
Vainqueur,
Minnie Riperton,
Ronnie Foster,
Wally Richardson,
the Soft Cell,
Public Image Ltd.,
Jesper Dahlback,
Masters at Work,
Kayak,
Camberwell Now,
Tubeway Army,
Selector Dub Narcotic,
The Associates,
Rotary Connection,
Teenage Jesus and the Jerks,
Siouxsie and the Banshees,
Eyeless In Gaza,
John Cale,
Fatback Band,
Jandek,
Ken Boothe,
Cecil Taylor,
Robert Hood,
10cc,
The Dead C,
Mandrill,
The Wake,
Soul Sonic Force,
Urselle,
Kool Moe Dee,
Robert Wyatt,
Q65,
Groovy Waters,
Rekid,
Neu!,
Fluxion,
Joey Negro,
Scientists,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.