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 Azerbaijan and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Seoul and Johannesburg.
I'm losing my edge to the art-school Woodstock 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 Neu! practice in a loft in Düsseldorf.
I was working on the harpsichord 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 Franke to the rock kids.
I played it at the Troubador.
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 Joy Division. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every The Gun Club record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Jimmy McGriff record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Liaisons Dangereuses,
Goldenarms,
Warren Ellis,
Roger Hodgson,
Wings,
UT,
Marcia Griffiths,
Television,
KRS-One,
the Human League,
Bang On A Can,
MDC,
Delon & Dalcan,
Shoche,
X-101,
the Soft Cell,
the Fania All-Stars,
Eurythmics,
Soulsonic Force,
Accadde A,
Lungfish,
Angels of Light & Akron/Family,
Oneida,
Das Ding,
Joey Negro,
Oppenheimer Analysis,
John Coltrane,
Neil Young,
Graham Central Station,
The Slackers,
Selector Dub Narcotic,
The Victims,
Aloha Tigers,
The Seeds,
T.S.O.L.,
Mary Jane Girls,
L. Decosne,
Andrew Ashong & Theo Parrish,
Sad Lovers and Giants,
Vainqueur,
Sun Ra,
Sugar Minott,
Eddi Front,
Desert Stars,
T. Rex,
Subhumans,
Al Stewart,
Kauko Röyhkä ja Narttu,
Siglo XX,
Janne Schatter,
Youth Brigade,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Marc Almond,
Art Ensemble Of Chicago,
Excepter,
Los Fastidios,
Mo-Dettes,
EPMD,
Barbara Tucker,
Quando Quango,
Second Layer,
Radiopuhelimet,
OOIOO,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.