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 Tunisia and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Spokane.
I'm losing my edge to the art-school New York 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 organ 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 The Jesus and Mary Chain 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 Darondo. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal dance 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 a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Yazoo,
Erykah Badu,
Spandau Ballet,
Crime,
Ludus,
Oneida,
Maleditus Sound,
Dual Sessions,
Major Organ And The Adding Machine,
The Leaves,
The Cramps,
The Gap Band,
Eli Mardock,
Tropical Tobacco,
Camberwell Now,
Warren Ellis,
The Flesh Eaters,
Toni Rubio,
The Pop Group,
Mr. Review,
Fatback Band,
OOIOO,
KRS-One,
The Black Dice,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pantaleimon,
Rekid,
Amon Düül,
The Smiths,
Brass Construction,
Can,
Suburban Knight,
Graham Central Station,
Bang On A Can,
Isaac Hayes,
The Jesus and Mary Chain,
Colin Newman,
Depeche Mode,
Stiv Bators,
DJ Style,
Scott Walker + Sunn O))),
Darondo,
Visionaries,LMNO, T- Love & Iriscience,
Don Cherry,
Marc Romboy vs. Booka Shade,
Rhythim Is Rhythim,
Visage,
Monks,
the Normal,
Public Image Ltd.,
Chrome,
Lonnie Liston Smith,
Captain Beefheart & His Magic Band,
London Community Gospel Choir,
Animal Collective,
the Slits,
B.T. Express,
Todd Rundgren,
World's Most,
The Electric Prunes,
Blancmange,
Television Personalities,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.