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 Cuba and from Johannesburg.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Manchester and Copenhagen.
I'm losing my edge to the art-school Tehran 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 1968 at the first Can practice in a loft in Cologne.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Wire to the techno kids.
I played it at Trash.
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 Vladislav Delay. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every Aural Exciters 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Black Pus record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
New Age Steppers,
Royal Trux,
Kaleidoscope,
David McCallum,
Subhumans,
The United States of America,
the Soft Cell,
Orchestral Manoeuvres in the Dark,
E-Dancer,
Crispy Ambulance,
Reagan Youth,
The Chocolate Watch Band,
Alton Ellis,
Easy Going,
KRS-One,
Q and Not U,
Gil Scott Heron,
Delon & Dalcan,
June Days,
The Associates,
Blake Baxter,
Gian Franco Pienzio,
The Walker Brothers,
Ten City,
Michelle Simonal,
Jeff Lynne,
Todd Rundgren,
Robert Görl,
The Martian,
Mark Hollis,
Grauzone,
Wally Richardson,
Cal Tjader,
Mo-Dettes,
The Fortunes,
Main Source,
Oppenheimer Analysis,
Pole,
Country Joe & The Fish,
Juan Atkins,
Public Image Ltd.,
Grandmaster Flash and the Furious Five,
Ralphi Rosario,
The Searchers,
Arcadia,
Roy Ayers,
The Moody Blues,
PIL,
Malaria!,
H. Thieme,
Tears for Fears,
Faraquet,
The Gap Band,
Terrestrial Tones,
a-ha,
D'Angelo,
Au Pairs,
Harry Pussy,
Panda Bear,
John Coltrane,
Captain Beefheart & His Magic Band,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.