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 Sri Lanka and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and Copenhagen.
I'm losing my edge to the art-school Portland 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 808 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 Orchestral Manoeuvres in the Dark to the rock kids.
I played it at the Astoria.
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 Royal Trux. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Essential Logic record on German import.
I heard that you have a white label of every seminal funk 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 organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Beasts of Bourbon,
Delon & Dalcan,
The Fugs,
Roy Ayers Ubiquity,
Crash Course in Science,
Sound Behaviour,
Fad Gadget,
Minny Pops,
Neil Young,
The Alarm Clocks,
Barbara Tucker,
Arab on Radar,
Joe Smooth,
The Dave Clark Five,
The Invisible,
X-102,
The Vogues,
Severed Heads,
Flash Fearless,
Jimmy McGriff,
Electric Light Orchestra,
Leonard Cohen,
Pylon,
Super Lover Cee & Casanova Rud,
Barclay James Harvest,
A Certain Ratio,
John Foxx,
Sex Pistols,
Mary Jane Girls,
Animal Collective,
New Age Steppers,
The Red Krayola,
The Happenings,
Roxette,
Monolake,
The Moody Blues,
Gregory Isaacs,
Al Stewart,
Ajijia Myrayebe,
Pussy Galore,
Hashim,
The Blues Magoos,
Archie Shepp,
Todd Terry,
Davy DMX,
Gastr Del Sol,
Gang Green,
Bill Wells,
Soul Sonic Force,
Y Pants,
Metal Thangz,
OOIOO,
Ken Boothe,
Danielle Patucci,
Underground Resistance,
Dark Day,
Fugazi,
Maleditus Sound,
Monks,
Guru Guru,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.