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 Nepal and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Bologna and Shanghai.
I'm losing my edge to the art-school Glasgow 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 Big Star practice in a loft in Memphis.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Morten Harket to the grime 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 Susan Cadogan. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Cluster record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Mark Hollis,
Barry Ungar,
Symarip,
Zero Boys,
Excepter,
Gil Scott Heron,
Intrusion,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Harry Pussy,
Moebius,
In Retrospect,
Procol Harum,
The Fall,
Glambeats Corp.,
Soft Machine,
Malaria!,
The Raincoats,
Darondo,
The United States of America,
a-ha,
Arab on Radar,
Mandrill,
Toni Rubio,
Kas Product,
Selector Dub Narcotic,
Fort Wilson Riot,
Youth Brigade,
Rufus Thomas,
Moby Grape,
Godley & Creme,
Deadbeat,
Janne Schatter,
Kevin Saunderson,
Sister Nancy,
The Blackbyrds,
Pulsallama,
The Zeros,
Country Teasers,
Dawn Penn,
Nick Cave & The Bad Seeds,
John Coltrane,
X-102,
Peter & Gordon,
The Divine Comedy,
Das Ding,
X-Ray Spex,
Theoretical Girls,
The Count Five,
The Doors,
Skriet,
The Searchers,
Letta Mbulu,
Sandy B,
the Bar-Kays,
Eric B and Rakim,
Roy Ayers,
Grey Daturas,
The West Coast Pop Art Experimental Band,
Parry Music,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.